Arts and Entertainment Archives

Culture Representation: Taking place the U.S. (including Buffalo, New York) from 1939 to the mid-1940s, the dramatic noir film “Nightmare Alley” features an almost all-white cast of characters (with one African American and one Latino) representing the working-class, middle-class and wealthy.

Culture Clash: A con man finds work at a carnival, where he learns how to use phony psychic skills to swindle people; he then leaves the carnival and teams up with a psychiatrist to con people in high society.

Culture Audience: “Nightmare Alley” will appeal primarily to fans of the movie’s star-studded cast, director Guillermo del Toro and noir dramas that are too bloated for their own good.

Rooney Mara and and Bradley Cooper in “Nightmare Alley” (Photo by Kerry Hayes/Searchlight Pictures)

“Nightmare Alley” is a beautiful-looking noir film about many people with very ugly personalities. The movie’s production design, cinematography and costume design are impeccable. Unfortunately, the movie’s sluggish pacing, hollow characters and corny dialogue drag down this film into being a self-indulgent bore. It’s disappointing because there’s so much talent involved in making this film, but a movie like this is supposed to intrigue viewers from beginning to end, not make them feel like they want to go to sleep.

The 2021 version of “Nightmare Alley” (which clocks in at an overly long 150 minutes, or two-and-a-half hours) is a remake of director Edmund Goulding’s 1947 film “Nightmare Alley,” starring Tyrone Power, Joan Blondell, Coleen Gray and Helen Walker. The movie is based on the 1946 “Nightmare Alley” novel by William Lindsay Gresham. The 2021 version of “Nightmare Alley” is also Guillermo del Toro’s directorial follow-up to his Oscar-winning 2017 fantasy drama “The Shape of Water.” Most of the “Nightmare Alley” remake’s stars, producers and department chiefs also have Academy Award recognition, as Oscar nominees or Oscar winners. What could possibly go wrong?

For starters, all this talent cannot overcome this movie’s dreadfully dull pacing and painfully heavy-handed screenwriting that’s filled with hokey conversations. The “Nightmare Alley” remake screenplay (written by del Toro and Kim Morgan), which takes place from 1939 to the mid-1940s, lacks enough flair and nuance to bring these characters to life as well-rounded people. And fans of the original “Nightmare Alley” movie should be warned: This remake has an ending that’s much bleaker than the original movie.

In addition, better judgment should have been used in trimming parts of this movie that didn’t further the story very well. The first half of the movie takes place in a carnival, while most of the second half takes place in more upscale environments, when the central character (who’s a con artist) decides to go after wealthier targets than the type of people who go to carnivals. It seems like the filmmakers were so enamored with the elaborate production design for the carnival scenes, they overindulged in this part of the movie, which has a lot of drab dialogue and scenes with repetitive intentions.

At the world premiere of “Nightmare Alley” in New York City, producer J. Miles Dale said in an introduction on stage that the movie had been completed just two weeks before the premiere. That might explain why more thought wasn’t put into the film editing, which fails to sustain a high level of suspense and intrigue. This type of thrill is essential in a movie that pays homage to film noir of the 1940s.

And this is not a good sign: Many people at the premiere were laughing at lines that weren’t intended to be funny. (I attended the premiere, so I saw all of this firsthand.) As the movie plodded on, more and more people were checking the time on their phones, and the audience seemed to get more restless. But the bigger indication that this movie might not be as well-received as the filmmakers intended is that audience members at the premiere were openly giggling at lines of dialogue that were supposed to be dead-serious.

For example, there’s a scene where a character is physically assaulted in an attempted murder, which is thwarted when help arrives. When the character is asked how they’re feeling right after this attack, the character says in a melodramatic tone, “I’ll live.” It’s supposed to be a moment of high drama played to maximum effect, but several people were laughing because of how the scene is delivered in such a hammy way.

At the end of the movie, people in the audience politely applauded. (Keep in mind, that the audience also consisted of numerous people who worked on the film.) However, it wasn’t the kind of thunderous, standing-ovation applause that usually happens at a premiere for an award-worthy movie that’s going to be a massive, crowd-pleasing hit. Considering that there were many awards voters in the audience, this type of underwhelming response indicates that—at least for this particular premiere audience—many people weren’t that impressed with this remake of “Nightmare Alley.”

Even if the audience response had been more enthusiastic, it wouldn’t be able to cover up the movie’s problems. All of the cast members seem to be doing the best that they can, but they are often stymied by some of the trite dialogue that mostly renders them as caricatures. Very little is revealed about the characters’ backgrounds to give them a story behind their personal motivations.

Bradley Cooper (who is one of the film’s producers) portrays the lead character: Stanton “Stan” Carlisle, a con-man drifter who ends up working at a seedy traveling carnival. He starts off doing lowly odd jobs, such as helping with construction and clean-ups. But eventually, he charms his way into becoming part of the fake psychic act at the carnival.

The carnival’s psychic act is led by a married couple named Zeena Krumbein (played by Toni Collette) and Pete Krumbein (played by David Strathairn), who coordinate their act through code words, body language and hidden written prompts underneath the stage. Zeena (whose carnival nickname is The Seer) is the flamboyant “psychic” who acts and dresses like a stereotypical fortune teller. While she’s on stage, Pete is underneath the stage, where he writes information on placards that Zeena can see from where she’s standing. The information supplies the hints and codes that prompt Zeena to correctly guess personal facts about someone who gets a “psychic reading” from her.

The Krumbeins have recorded the secrets of their con game in a small journal-sized book that is mostly kept in Pete’s possession. Stan is eager to read the book, but the Krumbeins won’t let him, although they eventually divulge some of their main secrets. Although the Krumbeins have had a partnership in work and in marriage for several years, the romantic passion has left their relationship.

Pete (a former magician) has become an alcoholic, and his alcoholism has caused him to be sloppy and unreliable in his work. He might pass out during one of Zeena’s performances, which is what happens in one scene where Stan has to quickly take over for a barely coherent Pete. It’s implied that Pete has become an alcoholic because he feels guilty about conning people. At one point, Pete warns Stan that the Krumbeins’ con-game secrets should not be abused, and anyone who does so could be cursed. “No man can outrun God!” Pete says ominously.

Zeena openly has affairs with other men. And you know what that means. It isn’t long before Stan and Zeena have an affair, but it’s all lust and no love. And considering that Stan is a con artist, he has ulterior motives for getting close to Zeena. This is an example of the cornball dialogue in the movie: Zeena says this pickup line to Stan before they begin their sexual relationship: “You’re a maybe. And maybes are real bad for me.”

While Stan is carrying on an affair with Zeena, he finds himself more attracted to a virtuous young carnival worker named Molly Cahill (played by Rooney Mara), who performs as an electricity-absorbing phenomenon named Elektra. Molly’s Elektra act consists of being tied to an electric chair and absorbing shocks of voltage that could kill or injure most people. Molly has a trusting nature that makes her blind to Stan’s manipulative ways. Not much information is given about Molly’s background to explain why she’s so naïve about the “smoke and mirrors” carnival business and the con artists that this type of business attracts.

Stan and Zeena’s affair eventually fizzles out, and he begins ardently courting Molly. However, the carnival has a strong man named Bruno (played by Ron Perlman), who is very protective of Molly and is suspicious of Stan’s intentions. Bruno has a co-star named Major Mosquito (played by Mark Povinelli), who also sees himself in a patriarchal role for the carnival. Bruno’s hostility toward Stan doesn’t stop Molly from falling for Stan’s charms. Eventually, Molly and Stan become lovers.

Not much is revealed about Stan’s background except that he’s originally from Mississippi. On a rare occasion that he opens up to someone about his past, he talks about a treasured watch that he has that was previously owned by Stan’s dead father. In flashbacks, it’s slowly revealed what Stan’s relationship with his father was like.

Meanwhile, other characters at the carnival are in the story, but they are essentially superficial clichés. The carnival barker Clem Hoatley (played by Willem Dafoe) is a gruff taskmaster with a cruel and sadistic side. He likes to torment the carnival’s caged “freak” (played by Tim Blake Nelson), a pathetic, gnarled, and dirty human being whose birth name is never revealed in the story and is usually referred to as the Geek.

Clem tells people that the Geek can go days without food and water. The Geek doesn’t talk but instead snarls and growls like an animal. As part of the Geek’s “act,” Clem or other people feed live chickens to the Geek, who tears the chickens apart and eats them raw. Sensitive viewers should be warned that the movie shows these acts of animal cruelty in detail, through visual effects.

Cruelty and degradation (to animals and to human beings) permeate throughout “Nightmare Alley,” which is nearly devoid of any intended humor. The scenes are staged with immense attention to detail on how everything looks, but the filmmakers didn’t pay enough attention to how these characters are supposed to make viewers feel. Most of the main characters are obnoxious and/or smug, which makes it harder for viewers to root for anyone. Molly is the only character in the movie who seems immune to becoming corrupt, but she’s written as almost too good to be true.

When too many people in a movie are unlikable, that can be a problem if they’re unable to convey some shred of humanity that can make them more relatable to viewers. And the result is a movie where viewers won’t care much about the backstabbing, selfish and greedy characters that over-populate this movie. Because so many of the characters (except for Molly) are so blatant with their devious ways, there’s no suspense over who will end up double-crossing whom. And that makes almost everything so predictable.

Due to a series of circumstances, Stan ends up becoming Zeena’s partner in the fake clairvoyant act. Stan thinks that he’s got real talent for this type of con game, so he decides to run off with Molly and target wealthier “marks” so he can become rich too. Considering that Bruno is the type to get physically rough in his disapproval of Molly and Stan’s relationship, and Bruno isn’t leaving the carnival anytime soon, Stan and Molly believe the time is right to leave the carnival for a better life. Molly and Stan relocate to Buffalo, New York.

Stan then become a semi-successful solo psychic named the Great Stanton, who does his act at sleek nightclubs attended by upper-class people. Molly is his willing accomplice, as long as Stan confines his act to entertaining people as a performer who shouldn’t be taken too seriously. Stan often wears a blindfold for added effect when he makes his guesses about people, based on their body language, the way that they dress and any information he can get about the guests before the show. Stan is no longer financially struggling like he was as a carnival worker, but he wants to be as wealthy as or wealthier than the people who attend his shows. He’s about to meet his new partner his crime.

During one of his performances, Stan has a heckler in the audience who challenges his authenticity. Her name is Dr. Lilith Ritter (played by Cate Blanchett), a psychiatrist who tries to humiliate Stan by demanding that he tell everyone what is hidden in her purse. Through a series of observant deductions, Stan correctly guesses that she has a gun in her purse. He then proceeds to turn the tables on Lilith and publicly embarrass her with scathing comments for trying to prove that he’s a fraud.

Under these circumstances, any fool can see that Lilith is not the type of person to forgive and forget this public shaming. However, when Lilith invites Stan to her office, Stan readily accepts. She tells him that she knows he’s a con artist and won’t believe otherwise. Stan then admits it and tells her how he figured out that she was carrying a pistol in his purse. The stage has now been set for two people who think they’re more cunning than the other, as they both try to see what they can get out of any relationship they might have.

Lilith tells Stan that she secretly records all of the sessions that she has with her patients, who are among the richest and most powerful people in the area. Stan immediately has the idea of using that information to target some of these people with his phony psychic act, by using their private information from these recorded sessions to convince them that he knows their secrets. Stan asks Lilith which of her clients is the wealthiest.

And that’s how Stan hears about ruthless business mogul Ezra Grindle (played by Richard Jenkins), who is successful when it comes to his career, but his personal life is filled with bitterness and loneliness. Ezra has confessed to Lilith that he’s been plagued with guilt over causing the death of a young woman he once loved. It’s information that Lilith and Stan use to concoct a scheme to swindle Ezra out of a fortune that they want to get in cash.

Stan and Lilith have the type of relationship where they trade insults but are sexually attracted to each other. It doesn’t take long for Stan to cheat on Molly with Lilith. Blanchett fully commits to the role of a classic noir ice queen, but her portrayal of Lilith is so transparently calculating, it’s never convincing that Lilith can be trusted in this con game that she’s agreed to with Stan.

Ezra isn’t the only “mark” who’s a target of Stan and Lilith. A well-to-do married couple named Charles Kimball and Felicia Kimball (played by Mary Steenburgen) get caught up in the deceit and fraud that Stan and Lilith have in store for them. It has to do with the Kimballs’ emotional pain over the death of their 23-year-old son Julian, who died while he was enlisted in the military. And it’s an example of how low Stan and Lilith are willing to go to exploit the death of a loved one for money.

As lead character Stan, Cooper is in almost every scene of “Nightmare Alley.” His character remains mostly an enigma because, like many con artists, he changes his persona to fit whatever perception will work to get people to do what he wants. He’s the most complex character of the movie, but his personality never comes across as genuine. Over time, Stan shows that he’s not only heartless, but he’s also doesn’t have much of a conscience unless he’s the one who might get hurt. He’s not even an anti-hero, although the last 10 minutes of the film try to garner some viewer sympathy for Stan.

Ezra can sense that Stan can’t be trusted, so Ezra goes back and forth with how skeptical he is when Stan tries to charm his way into Ezra’s life. However, Stan knows so many private details about Ezra, it’s enough to convince Ezra that maybe Stan is the telling the truth about being psychic. Ezra is supposed to be a brilliant businessman, but at no point is he smart enough to figure out that maybe his psychiatrist has been leaking his personal information.

Stan is supposed to be a skillful con artist, but at no point is he wise enough to figure out that if Lilith has a recording device in her office to secretly record people, maybe she would use it to secretly record Stan too. After all, the recording can be cleverly edited to leave out any incriminating things that Lilith would say. This is all just common sense, which is why it’s a bit of a slog when the movie lumbers along to make it look like there’s some kind of mystery about Lilith’s intentions. The only thing in the movie that might be considered a little unpredictable is what happens with the Kimballs.

“Nightmare Alley” is not the first retro-noir-inspired movie directed by del Toro. He also directed 2015’s “Crimson Peak” (starring Jessica Chastain, Tom Hiddleston and Mia Wasikowska), which also yielded mixed results because the pacing for the movie was so lethargic. At least “Crimson Peak” was a less tedious length of two hours. “Nightmare Alley” tries to convince people that it’s fascinating to watch monotonous scene after monotonous scene of Stan working his way up the carnival hierarchy, when the real story is what he does once he decides he’s going to become a phony psychic. The pace of the movie would’ve been better-served if about 20 to 30 minutes of the movie’s first half had been edited out.

The movie’s screenplay is still problematic though because of how it leaves no room to care about the story’s overabundance of distrustful and shallow characters, who spout a lot of words that don’t have much substance. “Nightmare Alley” takes so long to get to the inevitable end result of Stan and Lilith’s partnership, many viewers might have emotionally checked out by the time it happens. It’s enough to say that Molly is really the only character that viewers might care about by the time the movie is over. This remake’s revised ending has a well-acted, emotional final scene, but it’s not enough to make up for the character soullessness throughout most of the movie.

Searchlight Pictures will release “Nightmare Alley” in U.S. cinemas on December 17, 2021.

Review: ‘West Side Story’ (2021), starring Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Mike Faist, Brian d’Arcy James and Rita Moreno

December 2, 2021

by Carla Hay

Ansel Elgort and Rachel Zegler in “West Side Story” (Photo courtesy of 20th Century Studios)

“West Side Story” (2021)

Directed by Steven Spielberg

Some language in Spanish with no subtitles

Culture Representation: Taking place in 1957 in New York City, the musical drama remake “West Side Story” features a cast of white and Latino people representing the working-class.

Culture Clash: A young Puerto Rican woman and a young Polish American man fall in love with each other, despite having people close to them who are in rival, warring gangs that are opposed to this romance.

Culture Audience: Besides the obvious target audience of fans of the original “West Side Story” movie musical, this 2021 version of “West Side Story” will appeal primarily to people who are fans of director Steven Spielberg and movie adaptations of Broadway musicals.

Ariana DeBose and David Alvarez in “West Side Story” (Photo courtesy of 20th Century Studios)

The 2021 remake of “West Side Story” is exactly the glossy spectacle that you might expect from director Steven Spielberg. The movie is a bonafide crowd-pleasing epic that makes some interesting changes from the 1961’s “West Side Story” movie, a classic that was directed by Jerome Robbins and Robert Wise. In the 2021 version of “West Side Story,” some of these changes work better than other revisions to the original movie. The original “West Side Story” movie was based on a Tony-winning musical that debuted on Broadway in 1957. The Broadway musical was written by Arthur Laurents, with music by Leonard Bernstein and lyrics by Stephen Sondheim. Ernest Lehman wrote the screenplay to the 1961 “West Side Story,” while Tony Kushner wrote the screenplay to the 2021 “West Side Story.”

The original “West Side Story” movie starred Natalie Wood, Richard Beymer, Rita Moreno and George Chakiris as four young people in New York City who are caught in the middle of gang warfare, ethnic bigotry and risky romance. Moreno and Chakiris won Oscars for their supporting roles in the movie, which won a total of 10 Oscars, including Best Picture. (Moreno’s Oscar victory was groundbreaking, as she became the first Latina to win an Academy Award.) Is the 2021 version of “West Side Story” worthy of 10 Academy Awards? No, but there are some standout performances that should bring more attention to some very talented cast members. They do all their own singing, unlike some of the stars of the original “West Side Story” movie.

Most fans of musicals already know the basic premise of “West Side Story,” which is set in New York City (specifically, in a working-class area of Manhattan’s West Side) in 1957. It’s a story inspired by William Shakeapeare’s “Romeo and Juliet.” In “West Side Story,” a sweet and innocent Puerto Rican woman named Maria, who’s in her late teens, falls in love with a slightly older, streetwise Polish American man named Tony, who is an ex-con trying to start a new and reformed life away from an all-white gang that he used to lead called the Jets. Maria’s domineering older brother Bernardo is the leader of an all-Puerto Rican rival gang called the Sharks. Bernardo is dating Maria’s sassy best friend Anita. Needless to say, the romance of Maria and Tony sparks a war between the Jets and the Sharks.

In the original “West Side Story” movie, Wood was Maria, Beymer was Tony, Moreno was Anita and Chakiris was Bernardo. In the 2021 “West Side Story” remake (which also takes place in 1957), Rachel Zegler is María, Ansel Elgort is Tony, Ariana DeBose is Anita and David Alvarez is Bernardo. Unlike the original “West Side Story” movie, Spielberg’s “West Side Story” remake avoids any criticism of “whitewashing” racial casting, by casting the people of color characters with actors who are also people of color. Zegler is a Latina of Colombian heritage. DeBose is multiracial; in interviews, she sometimes identifies herself as African American. (DeBose’s father is Afro-Latino, and her mother is white.)

Perhaps the biggest and best change to the “West Side Story” remake is the clever idea to cast original “West Side Story” movie co-star Moreno in the role of a new character: Valentina, the no-nonsense but kind-hearted owner of a drugstore called Doc’s Chemists, where Tony works. In this version of “West Side Story,” Valentina is the widow of Doc, the store’s owner in the original “West Side Story” movie. (Doc was played by Ned Glass.) Considering all the racial discord in the story, the Valentina character gives the movie added poignancy because a Latina woman has given Tony a chance to redeem himself and start a new life.

Valentina represents the bridge between the divides caused by racism and xenophobia in the community that’s depicted in the movie. And there’s an extra layer of female empowerment/solidarity in a pivotal scene in the movie, when Anita defends herself from being attacked in the store by members of the Jets, and Valentina intervenes to put a stop to the assault. This scene has a greater impact than in the original “West Side Story,” when the upstanding but somewhat wishy-washy Doc was the one who stopped the attack.

Rather than putting the scene in a stereotypical context of a man coming to the rescue of a woman, this “West Side Story” movie has a woman in charge (Valentina), who is the unflinching moral compass in a maelstrom of hate and chaos. The scene is also symbolic of all the racism and sexism that women of color have had to experience and what happens when women help each other in moments of distress and pain. Moreno has talked extensively in interviews about how this scene was the most emotionally difficult one for her to film in the original “West Side Story,” and she has said it was a surreal experience to film it again in the “West Side Story” remake—this time, as the rescuer instead of the one being attacked.

Spielberg’s “West Side Story” remake stays true to the main elements of the story. The movie opens with the Jets in a rubble-filled area that’s undergoing reconstruction to make way for higher-priced homes. The Jets, led by Tony’s best friend Riff (played by Mike Faist), are hoodlums who come from dysfunctional families and are hostile toward non-white immigrants whom they feel are taking over the city. Since 1917, Puerto Rico has been a U.S. territory, and people born in Puerto Rico are U.S. citizens. But that doesn’t stop people like the Jets (and many other xenophobic and racist people) from thinking that Puerto Ricans aren’t “real Americans.” If Tony had any past racism when he was in the Jets, it’s not directly mentioned in the movie. What’s clear is that Tony is now a reformed person and very much against racism.

Meanwhile, many of the Sharks, including Bernardo, dislike white people, whom they see as racist oppressors. Puerto Ricans such as Bernardo, María and Anita are U.S. citizens but feel like immigrants in the United States, where English is the dominant language and there’s open hatred and discrimination against people who aren’t white. Bernardo feels that the Sharks are superior to the Jets because, as he tells Riff in one of their many confrontations, at least most of the Sharks have jobs. The Jets—who are U.S.-born, mostly unemployed descendants of white European immigrants—are fueled by anger in their perception that the American Dream has been ripped away from them.

María, Bernardo, and Anita (who all pay rent and share the same apartment in this “West Side Story” remake) represent the American Dream of people whose first language is not English, which they’ve had to learn in order to get certain opportunities. María, Bernardo and Anita also represent Puerto Ricans who come to the United States in search of a better life while the majority of their families still live in Puerto Rico. Coming to a place like New York City—where the cost of living and is higher and the living spaces are smaller than most other U.S. cities—can be a rude awakening that can be handled with optimism or pessimism. This dichotomy is represented in one of the musical’s most famous song-and-dance numbers: “America,” with Anita taking the lead for the optimistic side, and Bernardo taking the lead for the pessimistic side.

A noticeable difference in this “West Side Story” remake is that the Puerto Ricans speak a lot more Spanish—and there are no subtitles. It’s a clear indication that Spielberg (who is one of the movie’s producers) wanted this version of “West Side Story” to be more inclusive to Spanish-speaking audiences and present a more realistic depiction of people who speak more than one language. Although the 2021 version of “West Side Story” has no subtitles for the Spanish-language dialogue, it’s easy for people who don’t know Spanish to figure out what what’s being said, based on the cast members’ tones of voice, body language and facial expressions.

In this movie remake, the Puerto Rican characters are less concerned about assimilating in English-speaking America than their counterparts were in the 1961 version of “West Side Story.” Valentina even says so, when she makes this comment about her interracial marriage: “I married a gringo. He thinks that makes me a gringo. I ain’t.”

“West Side Story” was ahead of its time for having the androgynous Anybodys character, who is presented in both movies as a young transgender man, during an era when the word “transgender” did not exist. In the “West Side Story” remake, Anybodys (played by Iris Menas) is a lookout for the Jets. Anybodys is sometimes referred to as a “girl,” but Anybodys would rather be just one of the guys.

There’s a point in the movie where people start using male pronouns to describe Anybodys—and that makes Anybodys very happy. In the 2021 “West Side Story” remake, Anybodys has less screen time than the Anybodys in the first “West Side Story” movie. The character is depicted with more subtlety and less-exaggerated mannerisms in the remake.

Just like in the original “West Side Story,” the movie begins with the introduction of the Jets, followed by the Sharks, and the tensions between the two gangs. The Jets are first seen emerging from the rubble with paint cans, which they use to commit vandalism on an outdoor wall mural of the Puerto Rican flag. (This vandalism of a Puerto Rican flag mural is new to the remake.) The Sharks see this vandalism, are offended, and a brawl ensues between the two gangs until police arrive to break up the fight.

On the scene is Officer Krupke (played by Brian d’Arcy James), a “regular Joe” cop who would like nothing more than for the Jets and the Sharks to stop fighting each other, even though he knows that’s not very realistic. Krupke’s swaggering boss is Lieutenant Schrank (played by Corey Stoll), who’s even more impatient with these rival gangs than Krupke is. Schrank gruffly insults the Jets by calling them “the last of the can’t-make-it Caucasians,” and he barks this order: “Evict yourself from my crime scene, Bernardo!”

The Jets and the Sharks don’t trust each other, but both gangs have even less trust of the police. It’s why no one in either gang will snitch when the police try to find out who started the violent fight. No one is arrested this time, but the fight’s not over. As soon as the cops leave, Riff and Bernardo agree that there should be a rumble to decide which gang will come out on top. Anita and María openly express their disapproval of Bernardo’s gang activities, but he doesn’t pay attention to them, and there’s not much María and Anita can do to stop him.

Riff is somewhat of a reluctant chief of the Jets because he became the default leader when Tony was sent to prison for attempted murder of a young man during a gang fight. Now on parole, Tony is keeping his distance from the Jets because he truly wants to turn his life around and no longer be a criminal. Tony will not rejoin the Jets, despite Riff’s constant pleas.

Faist’s version of Riff has an insecure scrappiness to how he handles his gang leadership, indicating that Riff craves and fears power. He looks like he’s got a more fascinating and harrowing story to tell than Russ Tamblyn’s version of Riff in the first “West Side Story” movie. Tamblyn’s Riff looks like a frat boy gone bad. Faist’s version of Riff looks like a real street survivor who’s had a rough life and has the facial scars to prove it.

Riff has a platinum-blonde girlfriend named Velma (played by Maddie Ziegler), who is loyal and loving to him, but she disapproves of him getting involved in violent crimes. It’s a change from the Velma in the first “West Side Story” movie, where Velma was much more of a gang moll who looked the other way or encouraged Riff to be a violent thug. Ziegler became an actress after years as a professional dancer. Her dance expertise shows in Velma’s feisty and eye-catching dance moves.

In this “West Side Story” remake, Tony goes into more details about his life in prison in ways that weren’t in the original “West Side Story” movie. He still talks more about how prison changed him and made him determined to lead a law-abiding and productive life, but he expresses more guilt about the crime and more remorse about how he hurt the victim. After he was released from prison, Valentina gave Tony a job and a place to stay. (He lives in the store’s basement.) Valentina has known the members of the Jets since they were children. She has become a mother figure to Tony, who is estranged from his parents.

Just like in the original “West Side Story,” Tony and María meet and have a “love at first sight” encounter at a dance attended by local young people, including the members of the Jets and the Sharks. The dance’s chaperone announces at the dance that it’s a “social experiment” to better integrate white people and Latinos who live in the area. “And then you can all go back to your feral lives,” the chaperone cynically adds. However, racial segregation is still a fact of life that the attendees find difficult to change at this dance. They still congregate in groups according to race, including the inevitable dance-off where Anita and Bernardo outshine everyone else.

As an example of how much slicker this version of “West Side Story” is, the dance is held at a shiny-looking, well-lit school gymnasium, compared to the somewhat dark and grimy-looking dancehall in the original “West Side Story” movie. It’s a setting that looks a little too polished and well-kept for an area that’s supposed to be populated by people who are struggling financially and has public schools that are more run-down than they should be.

Tony has come to this dance reluctantly, after much persuasion from Riff, who wants to use the dance as away for Tony to see all of his former gang pals again. But once Tony and María lock eyes, meet cute behind the gym bleachers, and exchange some smitten dialogue, Tony can’t think of anything else but being with María. Tony and María couple up immediately by dancing together and having their first kiss just a few minutes after meeting that night. They agree to meet the next day at a museum.

Tony and María’s attraction to each other doesn’t go unnoticed. Bernardo orders Tony to stay away from María . Bernardo would rather that María date someone who’s Puerto Rican, such as his mild-mannered best friend Chino (played by Josh Andrés Rivera), who is not a member of the Sharks, although Chino would like to be. Chino was sort of Maria’s date at this dance, but Chino and María’s relationship has always been about platonic friendship only.

At the dance, Bernardo gets a little rough by pushing Tony away when he sees that Tony is interested in María. Riff and the rest of the Jets come to Tony’s defense, which leads the Sharks to get in on the dispute. María and Anita are disgusted with all of this seemingly never-ending fighting between the Sharks and the Jets, so they leave the dance. However, Tony doesn’t join his former gang cronies in this fight and instead runs out of the dance to look for María , but she is long gone.

The next day at Doc’s store, Tony has told Valentina about this new romance. He asks Valentina how to say, “I want to be with you forever” in Spanish, so that he can make this declaration of love to María on their first date. These kids move fast. Even Valentina notices how quickly Tony wants to commit to María, by cracking this joke: “You sure you don’t want to ask her out for coffee first?” Because this movie is set in the 1950s, when it was more common for people in the U.S. to get married in their late teens and early 20s, this swift courtship is easier to believe than if the movie had been set in the present day.

María and Tony are blissfully happy together in the short time that they’ve known each other, but their romance is threatened by the growing hatred between the Jets and the Sharks. The “West Side Story” remake keeps the sentiment that María and Tony have a pure love for each other. It’s a love that borders on obsession, especially in a scene where María gets some very bad news about something Tony did to hurt one of María’s loved ones, and her priority is to comfort Tony. However, there’s a slight but noticeable difference in how the remake presents this scene, which is in a better way than the first “West Side Story” movie.

The “West Side Story” remake has no drastic revisions to the songs’ tempos or arrangements. The movie also doesn’t add any original songs that were written specifically for this remake, in an attempt to get awards for new and original movie music. The song placements mostly stay true to the original, with some notable exceptions.

“I Feel Pretty,” Maria’s joyous ode to romance and self-confidence, has a different setting. In the original “West Side Story” movie, Maria sang “I Feel Pretty” in a private room with three seamstresses. In the “West Side Story” remake makes this musical number a much more public spectacle.

María works as a cleaning woman at a boutique. She sings “I Feel Pretty” while dancing through the rooms of the boutique with several other cleaning women during after-hours. This setting gives the scene a more aspirational tone to what the characters do, as they let loose in a boutique where they work but probably can’t afford the clothes that are sold in the boutique.

Fans of Moreno will have to wait until the last third of the movie for Valentina’s big musical moment: the show-stopping tune “Somewhere,” which she performs solo. It’s an absolute exquisite rendition that might make some viewers more than a little misty-eyed. All of the cast members rise to the occasion to make this “West Side Story” very entertaining and emotion-filled. There isn’t a mediocre performer in the movie’s principal cast.

Zegler carries her scenes as María with an eager-to-please demeanor. She doesn’t have the star power of Wood, but Zegler and Elgort have nice chemistry together as María and Tony. Elgort doesn’t always sound like the working-class New Yorker that he’s supposed to be as Tony when he speaks, but Elgort gives Tony the type of heartthrob charm that makes it easy to see why María falls so hard and fast for him. Elgort and Zegler have singing voices that are very good, but not particularly distinctive.

DeBose lights up every scene that she’s in and is the breakout star of the movie. Her version of Anita has a commanding presence and the flashiest dance movies. Debose’s larger-than-life portrayal of Anita is ideal for this type of splashy movie musical. Anita has a big personality, but she also has a more realistic view of life and love than starry-eyed María. And that’s why, for adults with enough life experience, Anita is a more relatable character than María.

Alvarez’s Bernardo has more machismo, as well as a little more emotional depth, than the Bernardo of the original “West Side Story” movie. Bernardo uses his arrogance to cover up his insecurities over feeling like he’s someone who’s “not good enough,” so he over-compensates. What he sees as being over-protective of María is really being over-controlling. What he sees as pride in being a Shark is really an endorsement of violent racism.

In the original “West Side Story,” Anita and Bernardo were an attractive couple, but you never got the impression that they had much romantic passion for each other. There’s more believable sexual heat with Anita and Bernardo in this “West Side Story” remake. DeBose and Alvarez seem to have natural chemistry with each other as Anita and Bernardo, who sees himself as the ultimate alpha male. Sex in the movie is hinted at but not explicitly shown. For example, Anita and Bernardo kiss passionately before slamming a bedroom door behind them; María and Tony wake up together half-dressed in bed.

As for the dazzling dance numbers, “West Side Story” movie remake choreographer Justin Peck brings his ballet background to the movie, with dance moves that are more complicated but a little more graceful, enhancing the stellar work by choreographer/director Robbins for the first “West Side Story” movie. DeBose is a standout in the dance scenes, which have a more sensuous and unbridled energy than the original “West Side Story” movie. (And that’s probably because depictions of sexuality in movies had more restrictions in movies released in 1961, compared to 2021.)

For the “West Side Story” remake, cinematographer Janusz Kaminski and production design make things look bigger and more over-the-top in scale. An overcast night can’t just be an overcast night. It looks like a fog-filled, full-moon scene out of a horror movie. A crumbling slum area can’t look like a crumbling slum area. It looks like a bombed-out war zone. It’s all very impressive, in terms of visuals.

And yet somehow, this more ambitious, bigger-budget version of “West Side Story” loses some of the neighborhood intimacy that the original “West Side Story” movie had. Everything looks professionally done in the remake, but just a little too staged and calculated. And maybe that’s because the movie was filmed and built on soundstages. (The “West Side Story” remake was filmed at Steiner Studios in Brooklyn.) Sometimes bigger isn’t always better.

The ending of the “West Side Story” remake doesn’t end as abruptly as the first “West Side Story” does. Without giving away too many details, it’s enough to say that the remake has a more melodramatic ending with some preachiness. It’s a revision that some “West Side Story” fans might like, while others won’t. This slightly new ending doesn’t take away from the overall spirit of “West Side Story,” which is a celebration of life and love, with the knowledge that both can be precious, fleeting and experienced with a lot of heartache.

20th Century Studios will release “West Side Story” in U.S. cinemas on December 10, 2021.

2021 Gotham Awards: ‘The Lost Daughter’ is the top winner

Olivia Colman in “The Lost Daughter” (Photo by Yannis DrakouliIdis/Netflix)

by Carla Hay

With four prizes, including Best Feature, the Netflix drama film “The Lost Daughter” was the top winner for the 31st annual Gotham Awards (formerly known as the IFP Gotham Awards), which were presented November 29, 2021, at Cipriani Wall Street in New York City. The Gotham Awards are produced by the Gotham Film & Media Institute, formerly known as the Independent Filmmaker Project. As of 2020, the Gotham Awards added categories for television programs.

“The Lost Daughter” won the Gotham Awards for Best Feature, Bingham Ray Breathrough DIrector Award (for Maggie Gyllenhaal); Best Screenplay (for Gyllenhaal); and Best Leading Performance (for Oliva Colman), an award that was also given in a tie to Frankie Faison of “The Killing of Kenneth Chamberlain.”

Other multiple winners included the Apple TV+ comedy/drama film “CODA,” which won two Gotham Awards: Outstanding Supporting Performance (for Troy Kotsur) and Breakthrough Performance (for Emilia Jones).

In the TV categories, the winners were Netflix’s “Squid Game” (Outstanding Series – Long Form); FX’s “Reservations Dogs,” (Outstanding Series – Short Form); and Topic/PBS’s “Philly D.A.” (Breakthrough Nonfiction Series). There was a two-way tie in the category of Outstanding Performance in a New Series: Ethan Hawke of Showtime’s “The Good Lord Bird” and Thuso Mbedu for Amazon Prime Video’s “The Underground Railroad.”

For the first time, the Gotham Awards eliminated gender-based prizes for performances. These gender-neutral categories for performances have been expanded to have up to 10 nominations per category, instead of five nominations for actor categories and five nominations for actress categories.

These are the new Gotham Awards categories for movies: Outstanding Lead Performance, Outstanding Supporting Performance and Breakthrough Performer. In addition, there are two new Gotham Awards categories for TV: Outstanding Performance in a New Series and Breakthrough Nonfiction Series.

In non-competitive award categories, the honorees are announced in advance. They are Kristen Stewart (Performer Tribute); Eamonn Bowles (Industry Tribute); the cast of “The Harder They Fall” (Ensemble Tribute); and Jane Campion (Director’s Tribute).

Here is the complete list of winners and nominees for the 2021 Gotham Awards:

*=winner

Best Feature

“The Green Knight”
David Lowery, director; Toby Halbrooks, James M. Johnston, David Lowery, Tim Headington, Theresa Steele Page, producers (A24)

“The Lost Daughter”*
Maggie Gyllenhaal, director; Osnat Handelsman Keren, Talia Kleinhendler, Maggie Gyllenhaal, Charles Dorfman, producers (Netflix)

“Passing”
Rebecca Hall, director; Nina Yang Bongiovi, Forest Whitaker, Margot Hand, Rebecca Hall, producers (Netflix)

“Pig”
Michael Sarnoski, director; Nicolas Cage, Steve Tisch, David Carrico, Adam Paulsen, Dori Roth, Joseph Restiano, Dimitra Tsingou, Thomas Benski, Ben Giladi, Vanessa Block, producers (NEON)

“Test Pattern”
Shatara Michelle Ford, director; Shatara Michelle Ford, Pin-Chun Liu, Yu-Hao Su, producers (Kino Lorber)

Best Documentary Feature

“Ascension”
Jessica Kingdon, director; Kira Simon-Kennedy, Nathan Truesdell, Jessica Kingdon, producers (MTV Documentary Films)

“Faya Dayi”
Jessica Beshir, director and producer (Janus Films)

“Flee”*
Jonas Poher Rasmussen, director; Monica Hellström, Signe Byrge Sørensen, Charlotte De La Gournerie, producers (NEON)

“President”
Camilla Nielsson, director; Signe Byrge Sørensen, Joslyn Barnes, producers (Greenwich Entertainment)

“Summer of Soul (…Or, When The Revolution Could Not Be Televised)”
Ahmir “Questlove” Thompson, director; Joseph Patel, Robert Fyvolent, David Dinerstein, producers (Searchlight Pictures, Onyx Collective, Hulu)

Best International Feature

“Azor”
Andreas Fontana, director; Eugenia Mumenthaler, David Epiney, producers (MUBI)

“Drive My Car”*
Ryusuke Hamaguchi, director; Teruhisa Yamamoto, producer (Sideshow and Janus Films)

“The Souvenir Part II”
Joanna Hogg, director; Ed Guiney, Emma Norton, Andrew Low, Joanna Hogg, Luke Schiller, producers (A24)

“Titane”
Julia Ducournau, director; Jean-Christophe Reymond, producer (NEON)

“What Do We See When We Look at the Sky?”
Alexandre Koberidze, director; Mariam Shatberashvili, producers (MUBI)

“The Worst Person in the World”
Joachim Trier, director; Thomas Robsham, Andrea Berentsen Ottmar, Dyveke Bjørkly Graver, producers (NEON)

Bingham Ray Breakthrough Director Award

Maggie Gyllenhaal for “The Lost Daughter” (Netflix)*
Edson Oda for “Nine Days” (Sony Pictures Classics)
Rebecca Hall for “Passing” (Netflix)
Emma Seligman for “Shiva Baby” (Utopia Distribution)
Shatara Michelle Ford for “Test Pattern” (Kino Lorber)

Best Screenplay
“The Card Counter,” Paul Schrader (Focus Features)
“El Planeta,” Amalia Ulman (Utopia Distribution)
“The Green Knight,” David Lowery (A24)
“The Lost Daughter,” Maggie Gyllenhaal (Netflix)*
“Passing,” Rebecca Hall (Netflix)
“Red Rocket,” Sean Baker & Chris Bergoch (A24)

Outstanding Lead Performance

Olivia Colman in “The Lost Daughter” (Netflix)* (tie)
Frankie Faison in “The Killing of Kenneth Chamberlain” (Gravitas Ventures)* (tie)
Michael Greyeyes in “Wild Indian” (Vertical Entertainment)
Brittany S. Hall in “Test Pattern” (Kino Lorber)
Oscar Isaac in “The Card Counter” (Focus Features)
Taylour Paige in “Zola” (A24)
Joaquin Phoenix in “C’mon C’mon” (A24)
Simon Rex in “Red Rocket” (A24)
Lili Taylor in “Paper Spiders” (Entertainment Squad)
Tessa Thompson in “Passing” (Netflix)

Outstanding Supporting Performance

Reed Birney in “Mass” (Bleecker Street)
Jessie Buckley in “The Lost Daughter” (Netflix)
Colman Domingo in “Zola” (A24)
Gaby Hoffmann in “C’mon C’mon” (A24)
Troy Kotsur in “CODA” (Apple TV+)*
Marlee Matlin in “CODA” (Apple TV+)
Ruth Negga in “Passing” (Netflix)

Breakthrough Performer

Emilia Jones in “CODA” (Apple TV+)*
Natalie Morales in “Language Lessons” (Shout! Studios)
Rachel Sennott in “Shiva Baby” (Utopia Distribution)
Suzanna Son in “Red Rocket” (A24)
Amalia Ulman in “El Planeta” (Utopia Distribution)

Breakthrough Series – Long Format (over 40 minutes)

“The Good Lord Bird,” Ethan Hawke, Mark Richard, creators; James McBride, Brian Taylor, Ryan Hawke, Ethan Hawke, Jason Blum, Albert Hughes, Mark Richard, Marshall Persinger, David Schiff, executive producers (Showtime)

“It’s a Sin,” Russell T Davies, creator; Russell T Davies, Peter Hoar, Nicola Shindler, executive producers (HBO Max)

“Small Axe,” Steve McQueen, creator; Tracey Scoffield, David Tanner, Steve McQueen, executive producers (Amazon Studios)

“Squid Game,” Kim Ji-yeon, Hwang Dong-hyu, executive producers (Netflix)*

“The Underground Railroad,” Barry Jenkins, Colson Whitehead, creators; Barry Jenkins, Adele Romanski, Mark Ceryak, Brad Pitt, Dede Gardner, Jeremy Kleiner, Colson Whitehead, Jacqueline Hoyt, executive producers (Amazon Studios)

“The White Lotus,” Mike White, creator; Mike White, David Bernad, Nick Hall, executive producers (HBO Max/HBO)

Breakthrough Series – Short Format (under 40 minutes)

“Blindspotting,” Rafael Casal, Daveed Diggs, creators; Rafael Casal, Daveed Diggs, Jess Wu Calder, Keith Calder, Ken Lee, Tim Palen, Emily Gerson Saines, Seith Mann, executive producers (STARZ)

“Hacks,” Lucia Aniello, Paul W. Downs, Jen Statsky, creators; Jen Statsky, Paul W. Downs, Lucia Aniello, Michael Schur, David Miner, Morgan Sackett, executive producers (HBO Max/HBO)

“Reservation Dogs,” Sterlin Harjo, Taika Waititi, creators; Taika Waititi, Sterlin Harjo, Garrett Basch, executive producers (FX)*

“Run the World,” Leigh Davenport, creator; Yvette Lee Bowser, Leigh Davenport, Nastaran Dibai, executive producers (STARZ)

“We Are Lady Parts,” Nida Manzoor, creator, Tim Bevan, Eric Fellner, Surian Fletcher-Jones, Mark Freeland, executive producers (Peacock)

Breakthrough Nonfiction Series

“City So Real,” Jeff Skoll, Diane Weyermann, Alex Kotlowitz, Gordon Quinn, Betsy Steinberg, Jolene Pinder, executive producers (National Geographic)

“Exterminate All the Brutes,” Raoul Peck, Rémi Grellety, executive producers (HBO/HBO Max)

“How to With John Wilson,” John Wilson, creator; Nathan Fielder, John Wilson, Michael Koman, Clark Reinking, executive producers (HBO/HBO Max)

“Philly D.A.,” Ted Passon, Yoni Brook, Nicole Salazar, creators; Dawn Porter, Sally Jo Fifer, Lois Vossen, Ryan Chanatry, Gena Konstantinakos, Jeff Seelbach, Patty Quillin, executive producers (Topic, Independent Lens, PBS)*

“Pride,” Christine Vachon, Sydney Foos, Danny Gabai, Kama Kaina, Stacy Scripter, Alex Stapleton (FX)

Outstanding Performance in a New Series

Jennifer Coolidge in “The White Lotus” (HBO Max/HBO)
Michael Greyeyes in “Rutherford Falls” (Peacock)
Ethan Hawke in “The Good Lord Bird” (Showtime)*
Devery Jacobs in “Reservation Dogs” (FX)
Lee Jung-jae in “Squid Game” (Netflix)
Thuso Mbedu in “The Underground Railroad” (Amazon Studios)*
Jean Smart in “Hacks” (HBO Max/HBO)
Omar Sy in “Lupin” (Netflix)
Anya Taylor-Joy in “The Queen’s Gambit” (Netflix)
Anjana Vasan in “We Are Lady Parts” (Peacock)

True Crime Entertainment: What’s New This Week

The following content is generally available worldwide, except where otherwise noted. All TV shows listed are for networks and streaming services based in the United States. All movies listed are those released in U.S. cinemas. This schedule is for content and events premiering this week and does not include content that has already been made available.

November 29 – December 5

TV/Streaming Services

All times listed are Eastern Time/Pacific Time, unless otherwise noted.

HBO’s documentary “Adrienne” premieres on Wednesday, December 1 at 8 p.m. ET/PT.

Monday, November 29

“The New York Times Presents”
“The Housewife and the Shah Shocker” (Episode 210)
Monday, November 29, 12 a.m., Hulu

“Fatal Attraction”
“Caught in a Web” (Episode 1120) **Season Finale**
Monday, November 29, 9 p.m., TV One

“Fatal Attraction”
“Drive of Death” (Episode 627) **Season Finale**
Monday, November 29, 10 p.m., TV One

Tuesday, November 30

“Undercover Underage”
“The Dark Web” (Episode 106) **Season Finale**
Tuesday, November 30, 3 a.m. ET/12 a.m. PT, Discovery+

“Dateline”
“Unforgettable: The Grudge”
Tuesday, November 30, 8 p.m., Oxygen

“Life of Crime” (Documentary film)
Tuesday, November 30, 8 p.m., HBO

“Real PD: Kansas City”
“Return to Grandma” (Episode 104)
Tuesday, November 30, 10 p.m., Investigation Discovery (Also available on Discovery+)

Wednesday, December 1

“Dateline”
“Mean Girls”
Wednesday, December 1, 8 p.m., Oxygen

“Adrienne” (Documentary film)
Wednesday, December 1, 8 p.m., HBO

“Still a Mystery”
“Far From Home” (Episode 408)
Wednesday, December 1, 9 p.m., Investigation Discovery

“Trafficked With Mariana Zeller”
“Black Market Surgery/In Plain Sight” (Episode 201) **Season Premiere**
Wednesday, December 1, 9 p.m., National Geographic

“Court Cam”
Episode 430
Wednesday, December 1, 9 p.m., A&E

“Court Cam”
Episode 431
Wednesday, December 1, 9:30 p.m., A&E

“Killer Cases”
“The Murder of Mollie Tibbets” (Episode 208)
Wednesday, December 1, 10 p.m., A&E

“See No Evil”
“Hustle Mart Murders” (Episode 804)
Wednesday, December 1, 10 p.m., Investigation Discovery

Thursday, December 2

“Buried in the Backyard: Buried in the Sand”
“Underneath the Sunset” (Episode 403)
Thursday, December 2, 8 p.m., Oxygen

“The First 48”
“The Final Celebration” (Episode 464)
Thursday, December 2, 9 p.m., A&E

“City Confidential”
“Death Dorm” (Episode 705)
Thursday, December 2, 10 p.m., A&E

“Love, Honor, Betray”
“In Those We Trust” (Episode 104)
Thursday, December 2, 9 p.m., Investigation Discovery

Friday, December 3

“The Shrink Next Door”
“The Party” (Episode 106)
Friday, December 3, 12 a.m. ET, Apple TV+

“The Hunt for the Chicago Killer” (Docuseries)
(Episodes 101-103)
Friday, December 3, 3 a.m. ET/12 a.m. PT, Discovery+

“Killer Siblings”
“Kauffman and McMahan” (Episode 301) **Season Premiere**
Friday, December 3, 10 p.m. ET/7 p.m. PT

“Dateline”
TBA
Friday, December 3, 9 p.m., NBC

“20/20”
TBA
Friday, December 3, 9 p.m., ABC

“The New York Times Presents”
“To Live and Die in Alabama” (Episode 211)
Friday, December 3, 10 p.m., FX and Hulu

Saturday, Deember 4

“Cold Justice”
TBA (Episode 609)
Saturday, December 4, 9 p.m., Oxygen

“911 Crisis Center”
“Teamwork Makes the Dream” (Episode 109)
Saturday, December 4, 9 p.m., Oxygen

“911 Crisis Center”
TBA (Episode 110)
Saturday, December 4, 9:30 p.m., Oxygen

“48 Hours”
TBA
Saturday, December 4, 10 p.m., CBS

“Deadly Affairs: Betrayed by Love”
“Until Death Do Us Part” (Episode 101) **Series Premiere**
Saturday, December 4, 11 p.m., Investigation Discovery

“Deadly Affairs: Betrayed by Love”
“Love Scam” (Episode 102)
Saturday, December 4, 11:30 p.m., Investigation Discovery

Sunday, December 5

“Snapped”
TBA (Episode 3009)
Sunday, December 5, 6 p.m., Oxygen

“The Real Murders of Orange County”
“If I Can’t Have You…” (Episode 201) **Season Premiere**
Sunday, December 5, 7 p.m., Oxygen

“American Monster”
“Stage Fright” (Episode 706)
Sunday, December 5, 9 p.m.,Investigation Discovery

“Real Life Nightmare”
“Connecticut Murder Mystery (Jennifer Dulos)” (Episode 304)
Sunday, December 5, 9 p.m., HLN

“Lies, Crime & Video”
“Horror in the Woods (Matthew Hoffman)” (Episode 303)
Sunday, December 5, 10 p.m., HLN

“On the Case With Paula Zahn”
“‘Precious’ Jane Doe” (Episode 2316)
Sunday, December 5, 10 p.m., Investigation Discovery

Movie Theaters and Home Video

No new true crime movies premiering in theaters or home video this week.

Radio/Podcasts

No new true crime podcast series premiering this week.

Events

Events listed here are not considered endorsements by this website. All ticket buyers with questions or concerns about the event should contact the event promoter or ticket seller directly.

All start times listed are local time, unless otherwise noted.

Due to the coronavirus pandemic, many in-person events that would normally be in-person are now being held as virtual/online events.

No new true crime events this week.

Review: ‘Who We Are: A Chronicle of Racism in America,’ starring Jeffrey Robinson

November 28, 2021

by Carla Hay

“Who We Are: A Chronicle of Racism in America”

Directed by Emily Kunstler and Sarah Kunstler

Culture Representation: The documentary “Who We Are: A Chronicle of Racism in America” features a predominantly African American group (with a few white people) of civil rights activists, entrepreneurs, historians and authors discussing the racial prejudices and challenges experienced by people of color, particularly African American men, in the United States.

Culture Clash: The documentary, led by civil rights activist/attorney Jeffrey Robinson, has the premise that people cannot truly be honest about racism in America without acknowledging that America was built on white supremacy that oppresses non-white people in entrenched systems that still exist today.

Culture Audience: “Who We Are: A Chronicle of Racism in America” will appeal primarily to people interested in historical accounts of racial bigotry in America that have a personal touch (due to Robinson’s on-camera narration and interviewing), but don’t expect there to be much discussion about racism against people who aren’t African American men.

Jeffrey Robinson in “Who We Are: A Chronicle of Racism in America” (Photo by Jesse Wakeman/Sony Pictures Classics)

“Who We Are: A Chronicle of Racism in America” is partly a filmed lecture by scholar Jeffrey Robinson, partly a historical account and partly a personal journey taken by Robinson to retrace past experiences with racism and race relations. The movie features compelling interviews and information but puts an overwhelming emphasis on bigotry inflicted on black men. The documentary should have been more inclusive to other people of color who experience racism too.

For example, the documentary has almost no acknowledgement of the genocide of Native Americans that allowed white Europeans to take over the land that is now known as the United States of America. You can’t have a truly comprehensive discussion about racism in America without including the brutally honest but necessary history explaining how white people became the dominant race in a part of North America where Native Americans were the dominant race for centuries. The documentary also does not cover the well-documented and shameful examples of U.S. government-sanctioned racism and other forms of bigotry experienced by Latinos and Asians in America.

“Who We Are: A Chronicle of Racism in America” (directed by sisters Emily Kunstler and Sarah Kunstler) is nevertheless a well-intentioned film and addresses many important topics about racial discrimination. The title is just a little misleading though. A more accurate title would be “Who We Are: A Chronicle of Racism Against Black Men in America.” That’s because almost all of the examples of racist hate crimes that are examined in this documentary are crimes in America against black men. This documentary packs in a considerable amount of information in its 118-minute running time, but the vast scope of what this documentary intended would have been better-suited as a docuseries instead of a feature-length film.

“Who Are Are: A Chronicle of Racism in America” made the rounds at several film festivals, including the SXSW Film Festival, Hot Docs, AFI Fest and DOC NYC. It’s the type of movie that is supposed to make people uncomfortable because it covers uncomfortable truths that many people want to deny or forget. The documentary sounds an alarm that there’s still a lot of work to be done in healing from and preventing the damage of racism that is still pervasive today.

If it seems like “Who We Are: A Chronicle of Racism in America” has a well-articulated and methodical tone of attorneys presenting a case, that’s because several attorneys or people with legal backgrounds were involved in the making of this film. Jeffrey Robinson, the movie’s on-screen narrator and interviewer, is an attorney who founded the Who We Are Project non-profit group to combat racism. Proceeds from this documentary will go to Who We Are Project. He has a background working as a deputy legal director and the director of the American Civil Liberties Union (ACLU) Trone Center for Justice and Equality, at well as as a public defender and an attorney in private practice.

Robinson, Emily Kunstler and Sarah Kunstler are among the producers of “Who We Are: A Chronicle of Racism in America.” Emily Kunstler and Sarah Kunstler (who co-founded the social-justice film production company Off Center Media) are two of the daughters famed civil rights attorney William Kunstler. Sarah is a practicing attorney. Emily’s mother is attorney Margaret Ratner Kunstler.

When white directors make a documentary or any project about white supremacist racism, some people will automatically question the validity or authenticity of the project. Emily Kunstler responded to this skepticism by making this statement in the “Who We Are” documentary’s production notes: “Throughout the making of this film, one of the questions we often get is why are two white women making this film? Our answer is that the history of slavery in the United States is not Black history, it is American history; a history of white supremacy and white complicity as well as a history of Black oppression and resistance. Growing up, Sarah and I were taught that it was our moral responsibility to stand up against racism and fight for justice. This responsibility includes learning and sharing our country’s painful history.”

“Who We Are: A Chronicle of Racism in America” has three distinctive types of footage that are all interwoven seamlessly throughout the film:

(1) A filmed speaking appearance about American racism that Robinson did in June 2018 at New York City’s Town Hall. This footage was directed by Gbenga Akinnagbe, who is one of the producers of this documentary
(2) Archival footage of many of the people, places and events discussed in the documentary.
(3) Interviews about racism in America that Robinson conducted in various U.S. cities.

Robinson has an engaging style of public speaking that is partly like a scholarly history teacher, partly like an intellectual sociologist and partly like an impassioned civil rights activist. He infuses his recitation of alarming statistics and data about racism with his own personal anecdotes, in order to make the information more relatable. He sometimes cracks sarcastic jokes to lighten the mood. Other times, his facial expressions show the emotional pain of remembering being the target of racism and feeling empathy to others who’ve also experienced this type of hatred and discrimination.

In the documentary’s opening scene, Robinson is seen on stage at the Town Hall appearance addressing a common argument that some people have when trying to minimize the damage caused by slavery in America. Robinson says that these deniers often say, “‘Slavery is not our responsibility.’ But it’s our shared history. And when we try to turn it into something that it’s not, when we try to make more light of what it was, then we are denying who we really are and are impeding our ability to move forward as a community and as a nation.”

As an example of how divisive people’s opinions are about how slavery in America should be remembered, the documentary mentions the ongoing debates of whether or not certain slave owners in American history should be celebrated. Controversies over which public statues should be removed or which architectural structures should be renamed indicate that this is a hot-button topic that won’t be going away anytime soon. Oftentimes, when people talk about not removing these statues or other tributes, they say it’s about “being patriotic.” But does “being patriotic” mean embracing historical racists as heroes?

In the documentary, Robinson shares his opinion on where people should draw the line: If a historical figure (especially a slave owner) is best known for doing things that advocated for keeping slavery and/or racial segregation legal, then those historical figures should not be celebrated with public statues, structures or any government-funded institutions named after them. If a historical figure’s accomplishments consists mainly of progress for the United States that’s greater than the fact that the historical figured owned slaves when it was legal in the Untied States, then it’s best to not remove the statue or tribute. Robinson cites former U.S. presidents who were slave owners (George Washington and Thomas Jefferson, to name a few) as examples of historical figures who shouldn’t be “erased” or “cancelled,” because their legacies for what they did in U.S. history far outweigh the fact that they owned slaves.

Several of the flashpoint events in civil rights history are mentioned during Robinson’s Town Hall speaking appearance, which includes a Power Point-type visual presentation on stage. These tragedies include the 1921 massacre and burning of Black Wall Street in Tulsa, Oklahoma; the 1955 murder of 14-year-old Emmitt Till, who was brutally slaughtered by two white men in Money, Mississippi, after Till was wrongfully accused of whistling at a white woman; and the 1968 assassination of Martin Luther King Jr. in Memphis. For many of these tragic events, Robinson goes to the scene and/or interviews people who were associated in some way to the victims of these hate crimes.

In Tulsa, Robinson interviews Lessie Benningfield Randle, one of the last known survivors of the Tulsa massacre. Even though she was a little girl when the massacre happend, she still has horrific memories of this tragedy. She witnessed people being shot and bodies piled up on the street. “I never want to see anything like that again,” she says with a haunted look in her eyes.

Also in Tulsa, Robinson visits Dr. Tiffany Crutcher, the twin sister of Terence Crutcher, an unarmed college student who was killed in 2016 by a white police officer named Betty Jo Shelpy, who claimed self-defense. Dr. Cruther says that her brother was not identified as a suspect when Shelpy arrived on the scene and that the media “dehumanized” him as a criminal when in facts he was not a criminal. “He laid on the street like an animal,” she says bitterly about how her brother’s dead body was unattended to for hours.

While in Memphis (Robinson’s childhood hometown), Robinson visits the Lorraine Motel, the site of King’s assassination. Robinson describes his own father as someone who was involved in the civil rights movement, and he has vivid memories of being taken to protest marches as a child. Also in Memphis, Robinson has an emotional reunion with Robert “Opie” Orians, a former classmate and friend of Robinson’s when they both attended St. Louis Catholic School and were on the school’s basketball team. Jeffrey Robinson and his older brother Herbert Robinson (who appears briefly in another part of the documentary) were the first black students at the school.

Opie’s father Richard Orians is also part of the reunion with Opie and Jeffrey. Richard, who used to coach the school’s basketball team, talks about an incident when the St. Louis team was barred from entry for a game at a rival school because a black student (Jeffrey) was on the St. Louis team. All three men get emotional, with eyes tearing up and voices cracking, when Richard says that, out of principle, he removed the team from the premises because he didn’t want to the team to be associated with a school that would make this racist decision. At the time, Richard says that he protected the team by not telling them the real reason why they were withdrawing from the game.

Jeffrey also remembers another racist incident he experienced as a child during a basketball game, when someone on the other team called him the “n” word. Jeffrey’s father was watching the game nearby, so Jeffrey went to his father to complain about the racist insult. Jeffrey remembers his father’s empathetic but stern response: “What do you want to do about it?”

His father asked Jeffrey if he would rather quit the game and let the racist feel superior, or stay in the game to prove to the racist that a racist slur wasn’t going to stop Jeffrey from playing the game. Jeffrey decided to stay in the game. He said it was an early lesson in not letting racists get what they want when they using racist insults and other forms of racism to make the targets of their hate feel inferior or defeated.

Jeffrey shares another personal story when he meets up with Kathie Fox, whose mother-in-law Mildred was the realtor of the Robinson family. The family—Larry’s parents Herbert Sr. and Lameris; older brother Herbert Jr.; and younger brother Jeffrey (who appears briefly in this documentary)—couldn’t move into a mostly white neighborhood until Mildred enlisted her married friends Lib and Pat Smith to buy a house in the neighborhood and then transfer the deed to Herbert Sr. and Lameris. Jeffrey remembers the look of shock on some neighbors’ faces when his family moved into the neighborhood. It was not uncommon for African American families to have to ask white allies to be their proxies to buy a house in a white neighborhood, because racist realtors would not sell houses to black people.

Also in Memphis, Jeffrey meets up with Tami Sawyer, a Shelby County commissioner of District 7, who led the charge to take down a statue in Memphis of Nathan Bedford, a Confederate Army general and the first Grand Wizard of the Ku Klux Klan. Sawyer says there’s no legitimate excuse for any past or present member of the KKK to be honored with a publicly funded statue that makes that person look like a hero. Still, the people who successfully lobbied to have the statue removed got a lot of resistance from those who say statues like that represent “Southern pride.” To other people, these types of statues are symbols of racist white supremacy.

While visiting Clayborn Temple in Memphis, Jeffrey interviews Carolyn Payne, whose unarmed brother Larry Payne was shot to death by a cop when Larry was 18 years old. Larry was unfortunately in the wrong place at the wrong time, since there was no evidence that he did anything wrong. Nothing ever happened to the cop who killed Larry. Carolyn says that she and her family will probably never know what really happened because she thinks there was a racist cover-up by the police who were involved. Sadly, there are too many other incidents like this to put into just one documentary.

In Alabama, Jeffrey visits author Josephine Bolling McCall, whose father Elmore Bolling was murdered in 1967, for being “too successful to be a Negro,” according to a newspaper report that she reads out loud and which is shown in the documentary. She describes how her family found her father shot to death in a ditch. “It’s ingrained in my memory,” she says with heartbreak. No one was indicted for this crime.

While in Selma, Alabama, Jeffrey speaks with retired Alabama senator Hank Sanders and activist Faya Ora Rose Touré, who are part of a group of citizens who want the Edmund Pettus Bridge in Selma to be renamed the Freedom Bridge. Edmund Pettus was a Grand Dragon in the KKK. Considering the historical significance of Selma in the civil rights movement, many people think it’s an insult that there’s a bridge in Selma (or anywhere, for that matter) named after someone who was proud to be a racist.

In Charleston, South Carolina, Jeffrey visits the Old Slave Mart Museum, where operations manager Ista Clarke gives a harrowing, detailed description of what it was like for slaves to be bought and sold there. Also in Charleston, Jeffrey accompanies Sights and Insights Tours owner Al Miller on a trip to the Ashley Avenue Oak Tree, which was the site of numerous lynchings, mainly of African American men. It’s mentioned that in almost all of these lynching cases, the victims were lynched not for doing anything wrong but for not being white.

African Americans are the vast majority of people who are interviewed in this documentary, but one white person is interviewed who represents people who think that the Confederate flag is not a symbol of racist hate. In Charleston, Jeffrey talks to one of three white men standing outside on the street while holding the Confederate flag. The three men are from a pro-Confederate flag group called Flags Across the South. It should be noted that although these men claim to be proud to stand up for their cause, they’re all wearing hats and sunglasses, as if they don’t want their faces to be fully exposed.

Jeffrey talks to Flags Across the South chairman Braxton Spivey on the street. And what Spivey has to say can only be described as being making excuses for slavery. Spivey comments, “Slavery had nothing to do with the [Civil] War. It was about money.” Spivey adds, “Slaves were treated like family,” and he believes that slaves “chose to stay” in captivity.

Jeffrey looks visibly disgusted at Spivey’s historically inaccurate rhetoric and blatant racism. When Spivey is asked if he would ever want to be owned as a slave, he admits he would not. But the subtext of what Spivey believes is that he thinks that white people shouldn’t be the slaves in society. Jeffrey shakes his head as he walks away and comments on Spivey: “Facts are not important to that gentleman.”

In New York City, Jeffrey talks to law student Darren Martin, who had the cops called on him when he was moving into his apartment. Apparently, an unidentified neighbor assumed that because Martin is African American, his moving activities were thieving activities. Martin says that six police officers responded to the complaint as if he were a criminal, even though he showed proof that he was new resident of the building and he was moving in. Like many people who experience this type of racism, Martin took out his phone and video recorded the incident. His video went viral and made the news.

Also in New York City, Jeffrey interviewed Gwen Carr, the mother of Eric Garner, an unarmed African American man who died in 2013 after a police officer put Garner in a chokehold and Garner repeatedly yelled “I can’t breathe!” The cop acted with this type of force in response to seeing Garner illegally selling loose cigarettes. That incident was captured on video, made international news, and became a touchstone tragedy that fueled the Black Lives Matter movement.

Carr describes her slain son: “He was a gentle giant.” She also says that she went into a deep depression after his death but then had a spiritual awakening: “The Holy Spirit spoke to me one evening” and asked if she was going be dead like her son, or if she was “going to get up, lift up his name, and let people know exactly who he was, and not let the media demonize him. Even though it’s too late for my son, we have to save other lives.”

While in New York City, Jeffrey interviews Inside Out Tours managing director Stacey Toussaint, who talks about how slave labor was the backbone of New York City, which was a financial hub for insurance and financing of the slave trade. Toussaint says that she wants to more people to understand that even though Southern states are often singled out as the worst states in America for racism, the reality is that racism can be anywhere.

Other people interviewed in the documentary are Chief Egunwale F. Amusan, president of the African Ancestral Society in Tulsa; Reverend Dr. Robert Turner, pastor of Historic Vernon Chapel A.M.E. Church in Tulsa; Kristi Williams, a Historic Greenwood/Black Wall Street historian; and Jeffrey’s nephew Matthew Liam Brooks, whom Jeffrey raised as a son after Brooks’ mother died.

During his Town Hall speaking appearance, Jeffrey says that dealing with racism means dealing with the ugly fact that many people are too heavily invested in keeping white supremacist racism in the economy and other systems that affect people lives. And when it comes to stopping racism, he makes this pointed observation: “A lot of people say they want change. They just don’t want the change to cost them anything or require them to change anything about the way they are living.”

One of the best ways to sum up the point of this documentary is from something that Jeffrey says in his Town Hall speaking engagement: “America has demonstrated its greatness time and time and time again, and America is one of the most racist countries on the face of the earth. Those two things are not mutually exclusive. It is not an either/or. And the reason I’m asking us to think about this is that literally, the future is at stake.”

Sony Pictures Classics will release “Who We Are: A Chronicle of Racism in America” in select U.S. cinemas on January 14, 2022.

Review: ‘Sing 2,’ starring the voices of Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Tori Kelly, Taron Egerton, Bono and Halsey

November 28, 2021

by Carla Hay

Pictured clockwise, from top left: Ash (voiced by Scarlett Johansson), Gunter (voiced by Nick Kroll), Meena (voiced by Tori Kelly), Johnny (voiced by Taron Egerton), Miss Crawly (voiced by Garth Jennings), Buster Moon (voiced by Matthew McConaughey) and Rosita (voiced by Reese Witherspoon) in “Sing 2” (Image courtesy of Illumination Entertainment/Universal Pictures)

“Sing 2”

Directed by Garth Jennings

Culture Representation: Taking place in the fictional U.S. city of Redstone City and briefly in the fictional U.S. city of Calatonia, the animated film “Sing 2” features a predominantly white cast of actors (with a few black people) voicing the characters of talking animals that are connected in some ways to showbiz.

Culture Clash: The owner and star performers of Calatonia’s New Moon Theater take their act to Redstone City, the nation’s entertainment capital, in the hopes of becoming bigger stars, but the ruthless mogul who can give them their big break expects the group’s act to include a reclusive rock star who hasn’t performed live in 15 years.

Culture Audience: Besides appealing to the obvious target audience of “Sing” fans and fans of the movie’s voice cast members, “Sing 2” will appeal primarily to people who don’t mind watching a “jukebox musical” with a poorly constructed, flimsy plot.

Clay Calloway (voiced by Bono) and Ash (voiced bu Scarlett Johansson) in “Sing 2” (Image courtesy of Illumination Entertainment/Universal Pictures)

Plagued by “sequel-itis,” the animated musical “Sing 2” sacrifices character development for a plot that sloppily rushes storylines and then turns into a commercial for Bono and U2’s music at the very end. The movie loses much of the charm of 2016’s “Sing” by having the main characters go off on different tangents and by introducing several new characters that are presented in a very superficial way. The “Sing” movie series (which is about talking animals, many of which can sing) also loses a lot of comedic appeal with “Sing 2,” by introducing a murderous villain that drags down the story with soulless acts of evil.

This decline in quality can’t be blamed on a change in filmmaker leadership. “Sing” and “Sing 2” were both written and directed by Garth Jennings and have the same producers (Janet Healy and Christopher Meledandri), as well as the same chiefs of certain departments, such as film editing, visual effects and music. The voice actors of most of the lead characters in “Sing” reprised the same roles for “Sing 2.”

Considering all of the talented people involved, it’s a disappointment that so much of “Sing 2” seems like a lazily conceived cash grab that does nothing innovative. The entire movie lacks suspense (there are absolutely no surprises) and over-relies on stringing together what are essentially separate animated music videos and trying to make it look like it’s all part of a cohesive plot. The visuals of “Sing 2” are perfectly fine, but there should be more to a movie than it just looking good.

Sequels are supposed to tell you more about the main characters, but “Sing 2” fails in this regard because you won’t learn almost anything new about the main characters from watching this sequel. “Sing 2” continues to have an overload of pop hits (original recordings and cover versions), but it’s less effective in this sequel, compared to the first “Sing” movie. That’s because “Sing 2” is essentially a mediocre “jukebox musical,” where song placement is more important than having a well-written storyline and memorable dialogue. Most of the new characters in “Sing 2” have hollow and stereotypical personalities.

“Sing 2” also follows a predictable plot formula for the second movie in an animated series: The main characters travel out of their home environment and get involved in new adventures somewhere else. And there’s nothing inherently wrong with that formula if it’s done with an engaging story. (It’s a formula that Pixar Animation has mastered with many of its sequels.) Unfortunately, “Sing 2” does not have a story that’s very interesting.

“Sing 2” is also one of those sequels that doesn’t do a very good job of introducing the main characters to viewers who didn’t see the first “Sing” movie. “Sing 2” assumes that people seeing this sequel are already familiar with the main characters. But that’s an assumption that just makes the screenwriting look even lazier than it needed to be.

Some of the characters in the first “Sing” movie struggled with different personal issues. For example, one character has a criminal parent who discouraged him from being a singer, and that parent ended up being incarcerated for a robbery. Another character suffered from stage fright. If any those issues are mentioned in “Sing 2,” they’re vague references when they should be a little more detailed, to give the characters more depth. In addition, “Sing 2” doesn’t really mention that all of the main characters that are singers met each other through a talent contest that was the focus of the first “Sing” movie.

If you must waste your time on the inferior “Sing 2,” it’s best to see the first “Sing” movie so you can understand the backstories of the main characters and see their real personalities. In “Sing 2,” almost all of the main characters’ personalities are reduced to soundbite-like dialogue in between singing songs. The good news is that all of the cast members who sing do a very fine job with their performances.

In “Sing” (which takes place in the fictional U.S. city of Calatonia), an ambitious koala named Buster Moon (voiced by Matthew McConaughey) owns an inherited theater that’s in danger of shutting down due to his financal problems. In order to get publicity for the theater and increase attendance, Buster holds a talent contest that attracts several Calatonia residents, and some of these characters end up being the stars of the contest. In “Sing 2,” Buster wants to take his productions out of regional theater and into the big leagues of a Vegas-styled musical show.

These singing stars from the “Sing” talent contest make their return in the “Sing 2” movie:

Rosita (voiced by Reese Witherspoon), a pig who’s a harried housewife and a mother of 25 piglets.
Ash (voiced by Scarlett Johansson), a porcupine who’s a rock singer/guitarist and a feminist.
Johnny (voiced by Taron Egerton), a gorilla who can play sing and piano a lot like Elton John.
Meena (voiced by Tori Kelly), an elephant who’s shy and insecure except when she’s singing.
Gunter (voiced by Nick Kroll), a pig who’s flamboyant and an occasional duet partner with Rosita.

Also returning for “Sing 2” is Buster’s eccentric administrative assistant Miss Crawly (voiced by writer/director Jennings), an iguana with a glass eye that often falls out and causes mishaps. Making cameos in “Sing 2” are two other characters from the first “Sing” movie: Johnny’s gorilla gangster father Big Daddy (voiced by Peter Serafinowicz) and elderly sheep Nana Noodleman (voiced by Jennifer Saunders), who is a wealthy benefactor and former theater diva.

In the beginning of “Sing 2,” New Moon Theater (the venue owned by Buster) is presenting a musical production of “Alice in Wonderland,” with Meena in the starring role of Alice. The show is a local hit that plays to sold-out audiences. During a performance, Buster is excited to see that an important talent scout named Suki Lane (voiced by Chelsea Peretti) is in the audience and taking notes.

Suki (who is a brown dog that can walk upright and has human-like arms and legs ) works for the mega-company Crystal Entertainment in Redshore City, the entertainment capital of the nation. Redshore City is designed to look a lot like Las Vegas. Miss Crawly tells Buster that Suki has been paying attention to the show and seems to be entertained.

After the performance, Buster rushes after Suki to talk to her before she can leave. He asks her what she thought of the show. Suki haughtily replies, “It’s a cute little show, but it’s not what we’re looking for. You’re not good enough. You’ve got a nice little local theater here, and it’s great for what it is, but trust me: You’d never make it in the big leagues.”

Buster is stung by this criticism, but he’s not ready to give up so easily. Even if his productions are considered regional theater, he knows that these shows have value because they frequently sell out. Suki gets in a chauffeured car to leave. Buster chases after the moving car on his bike, and he holds on to the car door to continue to talk to Suki.

Suki thinks that Buster is crazy and tells the driver to speed up, in order to get rid of Buster. Buster is essentially run off of the road, and he lands in a nearby canal. This debacle is witnessed by several residents who are near the canal. It’s a humiliating moment for Buster, but it’s played for laughs in the movie.

A discouraged Buster tells Nana about Suki’s rejection. He moans, “I’m a failure!” Nana scolds Buster for letting this setback make him think that he should give up. She tells him that if he doesn’t believe in himself and what he has to offer, then no one else will. Buster takes this advice and decides to round up Meena, Rosita, Ash, Johnny, Gunter and Miss Crawly to go on a road trip with him to Redstone City. The goal is to convince Crystal Entertainment to let them do a musical at the much-larger and more famous Crystal Tower Theater.

Ash already has a paying gig at a local rock club in Calatonia, but she’s being underpaid. When Buster meets up with Ash to ask her to go on the trip, he sees her backstage after a performance, right before she’s supposed to do an encore. The club owner/manager hands Ash a paycheck, and she’s annoyed because the amount is far less than what other artists at the club are getting paid.

Ash says to the club owner/manager: “I have a rule about not letting guys like you tell me what I’m worth. Unless I get paid like everyone else, I’m outta here!” And with that, she walks out of the building with Buster, without doing the encore.

The owner of Crystal Entertainment is Jimmy Crystal (played by Bobby Cannavale), who is literally and figuratively a wolf. He’s a hard-nosed, ruthless business mogul who insists that people call him Mr. Crystal. He is first seen judging auditioners at Crystal Tower Theater and giving red-buzzer rejections to every act, no matter how talented the act is.

Meanwhile, Buster and his group have arrived at Crystal Entertainment headquarters, but they don’t make it past the reception area because they don’t have an appointment. However, they go in a side employee entrance, find some sanitation worker uniforms, and disguise themselves as sanitation workers, in order to sneak into the auditions.

After a quick change back into their regular clothes, this enterprising group sneaks onto the audition stage. Buster makes an earnest pitch to offer his theater group for a musical show at Crystal Tower Theater. Mr. Crystal rejects them, of course. Buster tries to get Mr. Crystal to change his mind, but Mr. Crystal doesn’t want to hear it and is infuriated that these rejected auditioners don’t want to leave the stage.

Just as Mr. Crystal is about to have them thrown out, he overhears Gunter say that Gunter is a fan of Clay Calloway, a rock superstar lion who has been in seclusion for the past 15 years. Mr. Crystal asks if they know Clay. Buster lies and says yes. Mr. Crystal then changes his mind and says that he’ll agree to let Buster’s group do a show at the Crystal Tower Theater, on one condition: Clay Calloway has to be part of the act too.

Buster continues to lie and says it won’t be a problem because he and Clay are friends. When Mr. Crystal asks what the name of the show is, Gunter comes up with a title on the spot: “Out of This World.” It’s described as an outer-space musical. Mr. Crystal doesn’t care about the details because he just wants Clay Calloway to perform at the Crystal Tower Theater.

Mr. Crystal gives Buster and his group just three weeks to produce the show. He puts them up in the Crystal Tower Hotel and pays for all of their expenses. Buster is elated and decides he’ll figure out a way to convince Clay Calloway to be a part of the show. Ash is a big fan of Clay’s and she wants to go with Buster for this persuasive visit. Ash explains that Clay has become a grieving recluse ever since the death of his wife Ruby, who was his muse.

In the meantime, Buster works with Gunter on the concept for the “Out of This World” musical. They come up with the idea to have Rosita star as an astronaut looking for an outer-space explorer, with Gunter as a robot sidekick/aide. During this mission, she will have to visit four planets that have four different themes: war, love, despair and joy. This idea is as poorly conceived as it sounds.

Meanwhile, there’s more to Mr. Crystal than meets the eye. When an uninteresting movie like this is filled with hackneyed stereotypes, here’s one more: Mr. Crystal is really a gangster. A Vegas-styled hotel/casino owner who’s involved with illegal activities? Where did the filmmakers get this idea?

“Sing 2” starts to go off the rails in how it presents the preparations for this horrendous “Out of This World” musical production, by having the stars of the show go off in different directions with silly subplots. Rosita decides to invite her husband Norman (voiced by Nick Offerman) and their 25 kids to Redstone City. (After all, Mr. Crystal is paying for everything.) And so, there’s a scene of the kids being brats as they invade a food buffet area in the hotel and cause all types of chaos.

Rosita is playing an astronaut who has to do some high-flying stunts on stage. And therefore, it’s not a good time for Rosita to find out that she’s afraid of heights. Around the same time, Mr. Crystal insists that his daughter Porsha Crystal (voiced by Halsey) will be the star of the show. Buster is put in the awkward position of telling Rosita that she’s being replaced in the starring role. Porsha is a spoiled airhead who sounds like she’s spent too much time watching “Jersey Shore.”

Johnny is supposed to play a dancing gladiator-type of warrior in “Out of This World,” but Johnny doesn’t know how to dance. And so, the show’s uptight and mean-spirited monkey choreographer Klaus Kickenklober (voiced by Adam Buxton) makes Johnny’s life a living hell. But what do you know: One day, Johnny sees a sassy lynx street dancer named Nooshy (voiced by Letitia Wright), who attracts an enthusiastic crowd. Johnny is impressed with Nooshy’s talent, so he hires her to give him private dance lessons.

Meena, who is very inexperienced when it comes to dating, is paired with a conceited yak actor named Darius (voiced by Eric André), so she’s dreading the love scenes that they have to do in the musical. “Sing 2” has such slipshod screenwriting, Meena’s and Darius’ character roles in “Out of This World” are never clearly defined, except to show that they’re supposed to play each other’s love interest in “Out of This World.” Darius could have been breakout “Sing 2” character as a hilarious buffoon, but he’s mainly brought out for some underwhelming scenes where the jokes fall flat.

Meanwhile, Meena catches the eye of a mild-mannered elephant named Alfonso (voiced by Pharrell), an ice cream truck vendor. It’s obvious that Alfonso wants to date Meena, but she’s bashful about how to handle it. Alfonso compliments Meena on her singing talent, but she’s afraid to have conversations with him. None of these new supporting characters in “Sing 2” has a backstory or fully developed personality.

Meanwhile, there’s a time-wasting scene where Miss Crawly drives to reclusive rock star Clay’s estate (while System of a Down’s “Chop Suey!” is playing), to find out if she can get access to him. Some more problems ensue involving her glass eye, because the filmmakers seem to want to make Miss Crawly’s glass eye the main gimmick for the slapstick comedy about her. Needless to say, Miss Crawly is unsuccessful in getting to Clay. Buster and Ash decide to give it a try.

The second trailer for “Sing 2” already revealed that Clay (voiced by Bono, lead singer of U2) does come out of seclusion to perform on stage. But even if this major plot development hadn’t already been disclosed, it would be very easy to predict. The movie blandly and vaguely handles how Clay is convinced to come out of seclusion.

“Sing 2” is Bono’s animated feature-film debut as an actor. Bono’s speaking voice in this role is lowered one or two octaves from his real speaking voice. It seems like he’s trying to sound like a husky-voiced American rock star (somewhat like a combination of Bruce Springsteen and Tom Waits), but Bono’s natural Irish accent can still occasionally be heard in the dialogue.

As for the music of “Sing 2,” just like the first “Sing” movie, a lot of it comes in snippets of one minute or less per song. Songs that drop in for a longer than a minute (but still quickly) include Prince’s “Let’s Go Crazy,” Elton John’s “Goodbye Yellow Brick Road,” Mercury Rev’s “Holes,” Billie Eilish’s “Bad Guy,” DNCE’s “Cake by the Ocean,” Shawn Mendes’ “There’s Nothing Holdin’ Me Back,” Eve’s “Who’s That Girl” and Camila Cabello and Mendes’ “Señorita.”

The longer musical numbers are serviceable, although there are a few standout moments. Halsey shines in her biggest number, when she sings a rousing rendition of the Struts’ “Could Have Been Me.” Halsey’s version of Alicia Keys’ “Girl on Fire” is also impressive. Johansson does nicely with her cover version of U2’s “I Still Haven’t Found What I’m Looking For.”

However, the Tori Kelly/Pharrell Williams duet of Dionne Warwick’s “I Say a Little Prayer” has no heat. It’s also a very tame song selection for the characters of Meena and Alfonso, who are supposed to be in the early stages of a romance. Their first duet should’ve been more of a passionate love song or a more emotion-filled song about longing for love.

It seems like the “Sing 2” filmmakers bent over backwards to make Bono and his Clay character overshadow the movie’s last 15 minutes to steal the show. In the first “Sing” movie, main characters Rosita, Meena, Ash and Johnny all had their big individual singing moments in the spotlight. In “Sing 2,” everyone seems to have to clear a path for Bono/Clay.

In “Sing 2,” the Johnny character is woefully under-used as a singer. The movie seems more concerned about showing him awkwardly learning dance moves. It’s a shame, really, because Egerton is such a talented singer. His rendition of Elton John’s “I’m Still Standing” in the first “Sing” movie was one of the catalysts to Egerton being cast in John’s 2019 musical biopic “Rocketman.”

“Sing 2” is essentially a vehicle to promote U2’s music in the latter half of the movie. There are four U2 songs in “Sing 2”: the aforementioned “I Still Haven’t Found What I’m Looking For,” “Where the Streets Have No Name,” “Stuck in a Moment You Can’t Get Out Of” and “Your Song Saved My Life,” which was written for the “Sing 2” soundtrack. Obviously, “Your Song Saved My Life” is supposed to be Clay’s big moment. “Your Song Saved My Life” isn’t bad, but it’s not outstanding, and it won’t be considered a U2 classic.

If you want to know another reason “Sing 2” is such a disappointing mess, the filmmakers made Bono—one of the most charismatic rock stars on the planet—a dull and dreary character in this movie. The Clay character could’ve been played by almost anyone, but it seems like in order to get U2’s music for this movie, the filmmakers had to cast Bono in this role. It’s too bad that Bono and the rest of the talented voice actors are stuck in this hack karaoke project that has a major studio budget.

Universal Pictures will release “Sing 2” in U.S. cinemas on December 22, 2021.

Review: ‘Cloudy Mountain’ (2021), starring Yilong Zhu, Zhi-zhong Huang, Shu Chen and Junyan Jiao

November 26, 2021

by Carla Hay

Zhi-zhong Huang and Yilong Zhu in “Cloudy Mountain” (Photo by China Lion Distribution)

“Cloudy Mountain” (2021)

Directed by Li Jun

Mandarin with subtitles

Culture Representation: Taking place in China’s Yunjiang county of the Guizhou province, the action film “Cloudy Mountain” features an all-Asian cast of characters representing the working-class and middle-class.

Culture Clash: An estranged father and son must find a way to work together to save a busload of people who are trapped in a cave after a mountain avalanche, earthquake and other catastrophes that happen in a short period of time.

Culture Audience: “Cloudy Mountain” will appeal primarily to people who are interested watching formulaic disaster movies that have a lot of unrealistic action sequences and corny dialogue.

Shu Chen (center) in “Cloudy Mountain” (Photo by China Lion Film Distribution)

“Cloudy Mountain” is a formulaic and forgettable disaster movie where some people get trapped in an avalanche. It’s an apt metaphor for how this action melodrama gets buried by an avalanche of hokey dialogue and cringeworthy clichés. There is absolutely nothing surprising about anything that happens in this movie. It’s bad enough that the movie’s suspense is very phony and forced. It’s even worse that “Cloudy Mountain” gets more and more ridiculous until the movie reaches its very predictable ending.

Directed by Li Jun (who co-wrote the movie’s screenplay with Sha Song), “Cloudy Mountain” also presents many generic characters with little or no backstory or memorable personalities. All of the movie’s cast members give performances that are mediocre or substandard, while the visual effects in “Cloudy Mountain” are adequate. The movie’s story structure is very jumbled, possibly to confuse viewers into thinking that “plot holes” equal “intrigue and mystery.”

“Cloudy Mountain” also has an overload of too many disasters happening in a short period of time, with people being caught off guard. In real life (not in a badly made disaster movie), all of the geological shifts that are depicted would have been detected over time by scientists, not suddenly noticed on the day that the mountain collapses. But there would be no “Cloudy Mountain” movie if it were scientifically accurate.

The movie takes place in China’s southwest region—specifically, Yunjiang county of the Guizhou province. At Yudang Mountain (also known as Mount Yundang), the Yunjiang Tunnel Project has been under construction for 10 years and is about to be completed. Just like many of the mountains in this region, Mount Yundang was created from volcanic formations. And you know what that means for this type of movie.

At the center of the story are geo-engineer Hong Yizhou (played by Yilong Zhu) and his railway construction worker father Hong Yungbing (played by Zhi-zhong Huang), who have had a rocky relationship for quite some time. Yungbing (who is a widower) is part of the China Railway Construction team that has been building the Yunjiang Tunnel Project. Yizhou (who is a bachelor) thinks that this type of construction could disrupt the volatile structure of mountains and potentially be disastrous. Yizhou believes in modern technology that can forecast possible danger that comes when the mountain shifts, while Yungbing doesn’t believe in this technology.

Yizhou, who is in his 20s, has a co-worker named Lu Xiaojin (played by Junyan Jiao), who is around the same age. When an unmarried man and an unmarried woman work together this closely in a disaster movie, the film usually has a contrived plot where the man and the woman have heated disagreements, even though it’s obvious that they’re attracted to each other. As they go through the disaster together, they become closer and fall in love.

A contrived romance is the one cliché for a disaster movie that “Cloudy Mountain” didn’t use, because Lu Xiaojin and Hong Yizhou remain as platonic co-workers throughout the story. When Lu Xiaojin makes a mistake and miscalculates a forecast, she gets yelled at by a supervisor. Hong Yizhou comes to Lu Xiaojin’s defense by saying that the condition of the mountain is always changing.

Yizhou and Lu Xiaojin are not romantically involved with each other, but he does have a love interest. Yizhou has been dating a no-nonsense scientist supervisor named Ding Yajun (played by Shu Chen), who spends most of her screen time at Zi Yakou Command Center, looking tensely at giant video monitors or barking orders to people as the disasters start coming at a rapid pace. And yes, there’s more than one disaster in this atrociously over-the-top movie.

Earthquakes, flooding, mudslides, giant land fissures and landslides that turn into avalanches are just some of the catastrophes that come down hard on this region, which has a population of about 160,000 people. And it all happens in a 48-hour period. “Cloudy Mountain” is supposed to be based on real events, but the movie has so many far-fetched scenarios, it’s hard to believe it was based on any type of reality.

“Cloudy Mountain” is quite muddled in explaining what caused the disasters, but there’s mention of tectonic plates shifting in the Indian Ocean, combined with the work on Yunjiang Tunnel Project. Because in a movie this, even though the construction was going on for 10 years, everything comes crashing down with hardly any advance warning in a matter of hours. One minute people are going about their daily lives. The next minute, the ground cracks open with big holes that cause automobiles to crash, people to fall into crevices on the street, and buildings to topple.

The only indication that a disaster is coming is when Yizhou uses cable wire to climb the mountain, and his computer detection shows “unusual activity.” Apparently, Yizhou is the only person in China who spotted this problem in advance. Predictably, no one listens to him until it’s too late.

Yizhou goes through so many crazy scenarios in this movie that would leave a real person dead or permanently disabled, but he has a superhuman ability to overcome whatever happens. In one scene, his car flips over and crashes into the water. That leads to a flashback that shows how his mother died, which explains why Yizhou and his father don’t have a very good relationship. It should come as no surprise that Yizhou carries around a lot of guilt and shame about his mother’s death.

Meanwhile, his father Yungbing finds himself trapped in a cave with people who crashed in their bus. And lo and behold, somehow Yizhou got himself out of his drowning situation and now he’s in the cave too. It gets dark, and Yizhou tells Yungbing that it’s too dark and cold to try to find their way out of the cave at night. Yungbing vehemently disagrees. The expected father/son bickering ensues.

And did we mention that Ding Yajun and her team have decided the best way to stop a crumbling mountain is to blow part of it up? Does she know that the part of the mountain that will get blown up has a cave where her boyfriend Yizhou and his father Yungbing are trapped? Does anyone care? It’s hard to care about pile-ons of ludicrousness when how it’s all badly staged filler until the movie’s inevitable sappy conclusion.

China Lion Film Distribution released “Cloudy Mountain” in select U.S. cinemas on October 22, 2021. The movie was released in China on September 11, 2021.

Review: ‘The Beatles: Get Back,’ starring Paul McCartney, John Lennon, George Harrison and Ringo Starr

November 25, 2021

by Carla Hay

“The Beatles: Get Back”

Directed by Peter Jackson

Culture Representation: Taking place in London in January 1969, the three-part documentary series “The Beatles: Get Back” features a predominantly white and mostly British group of people (with one Japanese person and one African American person) representing the middle-class and wealthy in this chronicle of the beginning of the Beatles’ last recording sessions, as well as the Beatles’ last live public performance.

Culture Clash: Before the band broke up in 1970, the Beatles had internal struggles and disagreements over who would lead the band and how each member’s talent and contributions were valued within the group.

Culture Audience: Besides appealing to the obvious target audience of Beatles fans, “The Beatles: Get Back” will appeal primarily to people who are fans of 1960s rock music who want detailed observations of what music studio sessions looked like at the time.

Paul McCartney, George Harrison, Ringo Starr and John Lennon in “The Beatles: Get Back” (Photo courtesy of Disney+)

The three-episode official Beatles docuseries “The Beatles: Get Back” gives Beatles fans more than enough of what they might be looking for in this intimate chronicle of the band’s recording sessions and rehearsals in London in January 1969. “The Beatles: Get Back” (directed by Peter Jackson) expands on the footage that was in director Michael Lindsay-Hogg’s 1970 Beatles documentary “Let It Be,” which is no longer officially distributed but has been widely bootlegged. “The Beatles: Get Back” is the docuseries for you, if you’re the type of music fan who relishes seeing several different rehearsal snippets of the same Beatles songs that mostly ended up on the band’s 1969 “Abbey Road” album and 1970 “Let It Be” album. If you have absolutely no interest in watching the Beatles in a recording/rehearsal studio, then you might be bored and might not be able to finish watching this documentary.

That’s because most of the footage in this 468-minute docuseries (that’s 7.8 hours) takes place at recording/rehearsal studios: Twickenham and Apple Corps, to be exact. (Apple Corps is the London-based entertainment company founded by the Beatles in 1967, and is not to be confused with the California-based computer technology company Apple Inc. that was co-founded by Steve Jobs and Steve Wozniak in 1976.) The docuseries culminates with the Beatles performing a brief surprise concert on the rooftop of Apple Corps headquarters, which would end up being the band’s last live public performance. A great deal of the docuseries shows the repetitive nature of doing takes and re-takes of songs in the studio. In that regard, “The Beatles: Let It Be” could have used tighter editing to keep the interest of people with short attention spans.

The vast majority of the docuseries footage is within the confines of a studio. But what happens in that studio is pure magic for people who want to see how the Beatles crafted many of their songs from this period of time. There’s plenty of footage of the band’s personal interactions, but it’s only in the context of this work environment.

And that’s why the docuseries will appeal most to die-hard Beatles fans, who aren’t going to mind that this documentary’s cameras didn’t follow Beatles members Paul McCartney (bass guitar), John Lennon (rhythm guitar), George Harrison (lead guitar) and Ringo Starr (drums) outside of the studio to show what they were like outside of work. People who want to see more controversy in this documentary will be disappointed. However, the filmmakers made the decision not take the tabloid route, so that the documentary would remain focused mainly on the Beatles’ music.

“The Beatles: Get Back” is an insightful look at the band dynamics that foreshadowed why the Beatles broke up in 1970, but the documentary also shows the special chemistry and camaraderie that the Beatles had together. People who know Beatles history are the ones who will have the most appreciation of this deep-dive look into these recording/rehearsal sessions. After all, how many times does someone need to see the different ways that Beatles songs such as “Get Back,” “The Long and Winding Road” or “Don’t Let Me Down” were recorded or rehearsed? Die-hard fans will tolerate this type of repetition the most. The documentary also shows that the Beatles spent a lot of time in the studio performing cover songs for fun.

At the time this documentary footage was filmed, the idea was to record the next Beatles album live in the studio and make a documentary about it. (“Abbey Road” was actually recorded after the “Let It Be” album, but “Abbey Road” was released first.) The band also planned to do a live concert as a TV special. Lindsay-Hogg was the director hired for the documentary and the TV special, with the entire project tentatively called “Get Back,” named after one of the hit songs that would be on the “Let It Be” album. A big problem was that with less than three weeks before the concert was to take place, the band still couldn’t agree/decide on where the concert should be.

In the docuseries, band members have disagreements with each other, but no one has screaming arguments or destroys instruments in anger. Yoko Ono (an avant-garde artist who was Lennon’s girlfriend at the time and became his wife in March 1969) is not seen pitting Lennon and McCartney against each other, and she doesn’t try to tell the band what to do. In other words, this not the Beatles version of the 1984 rock mockumentary “This Is Spinal Tap.” That might come as a surprise to people who have come to expect drama akin to a soap opera in behind-the-scenes music documentaries about rock bands on the verge of splitting up.

And so, people looking for that type of turmoil won’t find it in “The Beatles: Get Back,” whose producers include McCartney, Ono (Lennon’s widow), Olivia Harrison (George Harrison’s widow), Starr and Jackson. The documentary does show how George Harrison briefly quit the Beatles, but his departure is not the disaster it could have been. That’s mainly because the other band members carry on with their work, as if they know deep down that Harrison will change his mind and come back less than a week later. (And that’s exactly what happened.)

Harrison’s temporary split from the Beatles was not made public at the time. This abrupt departure of someone from the most famous band in the world would be harder to keep a secret in today’s celebrity news environment, where this type of news would spread quickly on the Internet. It’s a testament to how the Beatles employees and associates who knew about Harrison quitting back then were discreet enough to not leak this information.

There’s so much to delve into “The Beatles: Get Back” because each episode of the series is longer than the average episode of a docuseries. Episode One is 157 minutes. Episode Two is 173 minutes. Episode Three is 138 minutes. “The Beatles: Get Back” director Jackson (who is a Beatles superfan) and his team lovingly restored the footage that was originally directed by Lindsay-Hogg.

Over the 21 days that Lindsay-Hogg and his team documented the Beatles in January 1969, there were about 60 hours of filmed footage and about 120 hours of audio recordings that ended up being edited for “The Beatles: Get Back” docuseries. The results are footage and audio that look and sound clear and crisp. The songs performed in the studio sessions have quick-cut editing in the docuseries. It’s as if the filmmakers don’t want the entire performance of each song to be seen, in anticipation of the Beatles’ rooftop concert. On-screen captions indicate which takes of these songs ended up on a Beatles album.

It’s explained in the beginning of the series that the Beatles had the daunting task of writing and rehearsing 14 new songs within a two-week period, in order for them to make the deadline for the TV concert. The Beatles didn’t agree on everything, but they all agreed that if this concert was going to happen, it wouldn’t be to play their old hits. They wanted it to be a showcase for their new songs. For recordings and rehearsals, they started off at Twickenham Studios for the first eight days, and then spent the remaining 13 days at Apple Studios.

Here’s a summary of the highlights from each episode:

Episode One

(Days 1 to 7)

John Lennon, Paul McCartney and Ringo Starr in “The Beatles: Get Back” (Photo courtesy of Disney+)

The episode begins with a brief chronological history of the Beatles, leading up to January 1969. At this point in the Beatles’ career, the band members were managing themselves, ever since Beatles manager Brian Epstein died of a sedative overdose in 1967, at the age of 32. McCartney is clearly the band member in charge, but disagreements over who should be the band’s next official manager were among the big reasons why the band broke up. Beatles fans will notice in this docuseries that these tensions were brewing and an indication of trouble to come. More on that later.

Even though Epstein wasn’t much older than the Beatles, certain band members still refer to him as “Mr. Epstein” and describe him as a father figure who was the one who kept them disciplined and taught them a certain work ethic as a band. With Epstein gone, McCartney has tried to step into the role of a leader who expects everyone to be their best and show up on time. But it’s how McCartney handles that leadership role that causes friction with other members of the group, especially Harrison and Lennon.

Lennon and McCartney co-wrote most of the songs that ended up on Beatles albums. If McCartney wrote most of a Lennon/McCartney song, McCartney was the one who sang lead vocals. If Lennon wrote most of a Lennon/McCartney song, Lennon was the one who sang lead vocals. Harrison would write Beatles songs on his own and sing lead vocals on them, but his songs were very much in the minority on Beatles albums. On rare occasions, Starr (whose real name is Richard Starkey) got a songwriting credit and lead vocals on a Beatles song.

This is the type of Beatles history that is not explained in the docuseries. However, people who are unfamiliar with the Beatles can discern these group dynamics when watching this docuseries, because every time a song is performed, the song’s title and the last name(s) of the songwriter(s) are listed on the screen. Even people with scarce knowledge of the Beatles have some idea that the Lennon/McCartney songwriting duo was the dominant songwriting partnership in the Beatles.

Although early in the Beatles’ career, Harrison was nicknamed in the media as “The Quiet Beatle,” Starr was actually the quietest member of the Beatles at this point in 1969. He’s often seen silently observing (and sometimes napping) while the other members of the band hash out some of their differences. He’s also the most easygoing member of the Beatles and the one most likely to want to keep the peace. It’s probably why the Beatles chose Starr’s home as the place for the Beatles to meet with Harrison after he abruptly quit the group.

McCartney is either motivational or bossy, depending on your perspective. He’s the one most likely to have big ambitions for the Beatles. He repeats throughout the documentary that he doesn’t just want to do albums. He wants the Beatles’ music to serve a bigger purpose and have more visual documentation of their art, such as filming the recording of the album.

Lennon is the sarcastic joker of the group. After recently getting involved in an intense love affair with Ono, he is shown as becoming less interested in arriving on time for band meetings and studio sessions. Lennon and Harrison are the Beatles members who are most likely to be tardy in these studio sessions.

Ono is never far from Lennon during most of these sessions, where she often sits next to him as if she’s also a member of the band. She doesn’t talk much, but her influence over Lennon is obvious, since she’s the only woman who’s allowed to join in and contribute vocals with the Beatles when they’re writing and recording. She doesn’t sing. The sound that comes out of her mouth is more like screeching or caterwauling.

During the first days of these sessions, Harrison seems motivated and greets people warmly. Harrison and Starr say “Happy New Year” to each other the first time that the band meets for these sessions. In another scene, Harrison compliments McCartney by saying of McCartney’s newly grown facial hair: “I think the beard suits you, man.” But as time goes on, Harrison looks both emotionally alienated and exasperated. And it’s not just because McCartney is telling Harrison how he wants Harrison’s guitar playing to sound.

It’s also because Harrison can see that, once again, most of his song ideas are being ignored. At this point in Harrison’s life, he was deep into Hare Krishna spirituality. It shows in the documentary, because a few of Harrison’s Hare Krishna friends/hangers-on, including two named Shyamsunder Das and Mukanda Goswami, are seen occasionally sitting cross-legged in the background, looking zoned-out or meditative.

For the concert TV special, McCartney was keen for the Beatles to perform a live concert again for the first time in three years (the Beatles quit touring in 1966), but he doesn’t want the band to perform in a typical and predictable setting. It’s here that McCartney tries to assert his leadership because he comes up with the idea that the Beatles should do a surprise concert at a place where they could get arrested. He half-jokingly suggests that the Beatles perform at the House of Parliament, where the band would undoubtedly be ejected. “You have to take a bit of violence,” McCartney says of his idea to do a guerilla-styled concert.

Lindsay-Hogg hates the idea. “I think it’s too dangerous. You could go back to Manila,” he says. It’s a reference to the Beatles’ harrowing 1966 experience of facing a group of angry citizens who aggressively manhandled the Beatles for skipping a meeting with Imelda Marcos, the wife of then-Philippines president Ferdinand Marcos. Lindsay-Hogg is fixated on an idea to have the Beatles perform at an open-air amphitheatre in the desert of Subrata, Libya. (It’s a terrible idea because of the difficult logistics involved. The ancient amphitheatre was not built for a 1969 rock concert that would require a lot of electrical wiring.)

Lindsay-Hogg also suggests that maybe the Beatles could perform at orphanages. He appeals to Harrison’s charitable side by trying to get him to agree to a charity concert. “They say charity begins at home,” Harrison quips. McCartney responds by joking that they should have the concert at Harrison’s house.

Film producer Denis O’Dell pushes for the Beatles to do the concert on some type of ship or boat. However, practical-minded Harrison says that this idea is “insane,” because the acoustics would be substandard and the production costs would be too high. Harrison mentions the Beatles’ widely panned 1967 TV special “Magical Mystery Tour” as an example of an expensive mistake. Lennon doesn’t seem to care where the Beatles play, while Starr says almost nothing at all when it comes to ideas or suggestions.

It’s in this docuseries’ first episode that viewers are also introduced to many of the key crew members who were part of the Beatles’ inner circle for this documentary. There’s Lindsay-Hogg, an American-Irish hotshot director who talks in an upper-crust accent and is often seen puffing on a cigar. He likes to remind people that he’s a huge Beatles fan, not just a hired gun. Far from being a “yes man,” Lindsay-Hogg is very opinionated and isn’t afraid to disagree with some of the Beatles’ ideas.

Beatles music producer George Martin conducts himself with the air of a calm and dignified businessman, but he is surprisingly not in this documentary as much as people might think he would be. Instead, engineer Glyn Johns (who is most definitely not a businessman type) has the most screen time as the one who takes charge of the technical side of the recording sessions. Other staffers and associates who are seen in the documentary, beginning with this episode, include Apple president Neil Aspinall, music publisher Dick James, roadie/personal assistant Mal Evans, roadie Kevin Harrington, cinematographer Tony Richmond, camera operator Les Parrott, song recordist Peter Sutton and electronic engineer Alexis “Magic Alex” Mardas.

Harrison is the first one the documentary to mention that the Beatles should break up. “Maybe we should have a divorce,” Harrison tells the other Beatles. Lennon quips, “Who would have the children?” McCartney jokes, “Dick James.” McCartney’s comment refers to how, at the time, James (through his Northern Songs Ltd. publishing company) owned the copyrights to Beatles songs written by Lennon and McCartney. Later in 1969, James sold Northern Songs to Associated Television (ATV) without telling Lennon and McCartney in advance. The battle to own the Beatles’ song publishing could be its own documentary.

Starr’s wife Maureen Starkey makes a brief appearance. Just like the other women in this documentary, she doesn’t say much. The episode ends with Harrison getting up and announcing he’s leaving the band. Lennon says that if Harrison doesn’t come back in a few days, the Beatles should get Eric Clapton as a replacement. (Clapton was Harrison’s best friend at the time.) An episode epilogue caption says that the attempted reconciliation with Harrison at Starr’s house did not go very well.

What the documentary doesn’t mention is that Starr’s wife Maureen Starkey and Harrison were having an affair at the time, according to several books about the Beatles. Meanwhile, Clapton was in love with Harrison’s wife Pattie (Clapton wrote the 1971 song “Layla” about her), and she would eventually leave Harrison in 1977 for Clapton, who became her second husband two years later. If this is the type of love triangle drama that people wanted to see in this documentary, you’re not going to find it.

Episode Two

(Days 8 to 16)

Paul McCartney, George Harrison and John Lennon in “The Beatles: Get Back” (Photo courtesy of Disney+)

As we all know, Harrison eventually did come back to the Beatles, as seen in this episode. During his absence, the other band members have a bittersweet laugh when a bouquet of flowers arrives for Harrison at the studio. Starr opens the greeting card and sees that the flowers are from a Hare Krishna group that obviously doesn’t know that Harrison had recently quit the band.

But the most intriguing part of the episode is that McCartney starts to get real about the band’s problems. The documentary mentions that a hidden microphone was placed in a flower pot to capture a conversation between Lennon and McCartney over Harrison’s unhappiness in the Beatles. This secret recording was clearly the filmmakers’ attempt to find out McCartney’s true feelings, since he was the band member who tended to be the most image-conscious and careful about what he said on camera.

In this undercover conversation, Lennon says of Harrison’s discontent: “It’s a festering wound that we’ve allowed … and we didn’t give him any bandages. We have egos.” McCartney says of Harrison’s concerns: “I do think he’s right.” McCartney also tries to appeal to Lennon’s ego by saying that the Beatles will always be Lennon’s band.

Through his actions and words in this documentary, McCartney seems to want to give the impression that he’s stepping up in a leadership role because no one else in the Beatles wants to do it. The problem, which has also been documented in several books about the Beatles, is that the other members of the group get frustrated when McCartney acts like his ideas are usually the best ideas. Harrison isn’t the only one who’s starting to drift away and feel alienated.

In another part of the episode, when McCartney knows that he’s being filmed, he says to a group of people (including Eastman and Starr) that Lennon is losing interest in the Beatles. If Lennon had to choose between the Beatles or Ono, McCartney predicts: “Obviously, if it came to a push between Yoko and the Beatles, it’s Yoko.” McCartney also says that he and Lennon are spending less time writing songs together because their lifestyles have changed. He mentions that because the Beatles weren’t touring, he and Lennon weren’t spending time together in hotel rooms, where Lennon and McCartney would get a lot of songwriting done.

New romances were affecting the Lennon/McCartney friendship. Linda Eastman, a photographer from New York, had recently begun dating McCartney and would become his wife in March 1969. Eastman is in the documentary as a laid-back presence, who occasionally takes photos and snuggles with McCartney. During a band meeting where they discuss Harrison quitting the group, Eastman pipes up that she noticed that at the reconciliation attempt at Starr’s house, Ono seemed to be talking for Lennon instead of Lennon talking for himself.

The documentary doesn’t give a lot of evidence to support a lingering perception among some Beatles fans that Ono is mainly to blame for breaking up the Beatles. She doesn’t talk much when she’s with the Beatles in these studio sessions. On the rare occasions that she smiles, it’s when she gazes lovingly at Lennon or shows other public displays of affection with him. She’s shown as not being particularly close to anyone in the Beatles’ inner circle except for Lennon. McCartney says prophetically, “It’s going to be such an incredible, comical thing, like in 50 years’ time [people will say], ‘They broke up because Yoko sat on an amp.'”

Still, there’s no denying that there’s unspoken tension between McCartney and Ono. During a group discussion, McCartney talks about how he still wants the Beatles to be on the top of their game in the documentary. “We want to show the world what we have,” McCartney says. Ono chimes in, “Or what we haven’t.”

The reality seems to be sinking in with McCartney that he and his longtime pal Lennon are going in different directions with their lives. McCartney seems to want to hold on to an idea that the Beatles can continue, but only if they agree with his wish that they don’t do anything in a boring and predictable way. Meanwhile, a frustrated Harrison seems like he wants to be a solo artist, whether the other band members approve or not. As for Starr, he just seems to want to know if he has a job and where to show up. When McCartney half-jokingly suggests that the Beatles should announce their breakup at the end of their upcoming concert, Starr reacts with a mortified look on his face that’s priceless.

In between all of this interpersonal drama, the Beatles are still capable of working together in a respectful and cohesive manner as musicians in a studio. Harrison starts to become more jovial, while Lennon cracks jokes to lighten the mood. After Harrison comes back to the band, McCartney seems more mindful of how he gives suggestions to Harrison, in order to avoid looking like an overly critical taskmaster.

McCartney also mentions to his bandmates that he has personal film footage of the time that the Beatles spent at a 1967 retreat with the spiritual guru Maharishi Mahesh Yogi, who was exposed years later as a con artist. McCartney vividly describes scenes from this footage, some of which are shown in the documentary. Lennon and McCartney have a laugh when McCartney comments on the retreat, “You can see from the film that it’s very much like school.”

Harrison’s wife Pattie appears very briefly in this episode when she visits the studio. Out of all of the Beatles’ significant others at the time, she’s the one who is seen the least in the documentary. Pattie was busy with her modeling career at the time, but she and other people have since revealed that her marriage to Harrison was in deep trouble in 1969, because of the love triangle with Clapton.

A great scene in this episode is when comedian/actor Peter Sellers (who was Starr’s co-star in the 1969 movie “The Magic Christian”) stops by for a visit. It’s the first time that Sellers has met the members of the band, other than Starr. Sellers is quiet and bashful. Some viewers might speculate that he seems a little star-struck by the Beatles. He also seems a little bored, because he doesn’t stay for long. Maybe he thought being in a recording studio with the Beatles would be one big party.

In this encounter with Sellers, Lennon proves to be a lot funnier than world-famous comedian Sellers. As Sellers says a “nice to meet you” goodbye to the group, Lennon makes a drug joke when he says to Sellers: “Just don’t leave the needles lying around.” Everyone in the room laughs, except for Sellers, who seems a little taken aback by this joke and that someone can get bigger laughs than he usually does.

Speaking of drug references, there are some noticeable ones in this episode. Lennon shows up late at the studio one day, and he says it’s because he stayed up all night while he was on drugs. “I was stoned and high and watching films,” Lennon confesses. McCartney, ever aware of the Beatles’ image, looks slightly alarmed, knowing that Lennon was caught on camera with this comment. McCartney responds, “Is there a need to do this in public, Mr. Lennon?”

Earlier in the episode, Starr is seen on camera asking personal assistant Evans, “Do you have any pep pills?” And the band’s goofiest antics and loopiest comments in this episode and the other episodes in the docuseries could be interpreted as actions of people under the influence of unnamed substances. At any rate, no one actually says out loud which illegal drugs might have been consumed. The Beatles are seen smoking a lot of cigarettes and drinking alcohol (usually wine or beer) during these sessions. Even if illegal drug taking had been caught on camera, it wouldn’t have made the final cut in a Disney+ documentary.

This episode shows how image-conscious the Beatles were, since there are multiple scenes of them reading articles about themselves in newspapers and magazines and making comments about what they see in this media coverage. Harrison is irked by a Daily Mail article written by Michael Housegro, in which Housegro claims that Lennon and Harrison got into a fist fight and that the Beatles are on the verge of breaking up.

Housegro was wrong about the fist fight, and Harrison asks someone in the room if the Beatles can sue over the article. The answer is no. Harrison and Lennon have a bit of a laugh over it though, and pretend to get in a fist fight when the article is read out loud. Later, McCartney reads the article out loud in a very sing-song, sarcastic manner while plugged into a microphone and pretending that article’s words are lyrics to a song.

The Beatles move their recording/rehearsal sessions to Apple when their scheduled time at Twickenham comes to an end. When they begin working at Apple, it’s the first time that the documentary shows life outside the studio bubble. The members of the band show up in separate cars and walk inside without any bodyguards or entourages. If there were any paparazzi photographers lurking about, they’re not shown in this documentary.

It’s in this episode that Apple Scruffs (the nickname for the female fans who would wait outside Apple headquarters to get a glimpse of the Beatles) are first seen. Two Apple Scruffs named Eileen Kensles and Sue Ahearne are interviewed. They both say that what they want most for the Beatles to do next is to perform a live concert.

At Apple headquarters, Magic Alex had constructed a custom-built studio for the Beatles. However, the band discovers that ths custom studio equipment has too much distortion. Beatles producer Martin comes to the rescue by letting the Beatles use some equipment that he had, thereby diverting a major setback.

Things get livelier when keyboardist Billy Preston joins the sessions. His enthusiasm and talent seem to lift the Beatles’ spirits. McCartney briefly considers eventually making Preston a permanent member of the Beatles, but McCartney ends up nixing the idea. “It’s bad enough with four [members of the band],” McCartney comments.

And if you didn’t already know that “Get Back” was originally going to be a protest song against white nationalism, anti-immigrant racism and xenophobia, then you’ll find out what were some of the lyrics that McCartney originally wanted for the song. “Get Back” eventually evolved into a non-political song, but it’s interesting to see the thought process that went into the crafting of this song. At this point in his career, McCartney avoided making overt political statements in his songs, so his original intention for “Get Back” would have been a major departure for him.

Another song that went through a metamorphosis was Lennon’s “The Road to Marrakesh.” Never heard of it? That’s because the docuseries shows in this episode that “The Road to Marrakesh” was an early version of “Jealous Guy,” a song that would end up on Lennon’s 1971 solo album “Imagine.” The song’s melodies essentially remained the same, but the lyrics became very different when the song morphed into “Jealous Guy.”

Making brief appearances in this episode are photographer Ethan Russell (the cover of the “Let It Be” album features his photos), Apple executive Peter Brown and art dealer Robert Fraser. Brown and author Steven Gaines would later write the unauthorized Beatles tell-all book “The Love You Make: An Insider Story of the Beatles,” which was published in 1983. It’s considered one of the first exposés of the Beatles in-fighting that went on behind the scenes.

Lindsay-Hogg was also the director of the concert TV special “The Rolling Stones Rock and Roll Circus,” which featured Lennon and Ono among the guest performers. Lindsay-Hogg is seen asking Lennon if he wants to be a guest on this TV special, and Lennon readily agrees. It’s because of “The Rolling Stones Rock and Roll Circus” that Lennon came into contact with Allen Klein, who was the Rolling Stones’ manager at the time.

Klein was a controversial figure in the histories of the Rolling Stones and the Beatles. By all accounts, he desperately wanted to manage the Beatles. Klein does not make an appearance in “The Beatles: Get Back” docuseries, but it clearly shows through Lennon’s descriptions of Klein how Klein began to woo and charm his way into the Beatles’ lives.

In this episode, the idea to have a live TV concert is scrapped. And it comes as no surprise, because the band was never ready to do a live TV show with just two weeks of preparation. However, McCartney still wants the Beatles to perform their new songs live somewhere and having it filmed. Lindsay-Hogg and Johns suggest doing a surprise show without a permit on the rooftop of Apple Corps, thereby making McCartney’s idea to have a guerilla-styled Beatles concert become a reality.

Episode Three

(Days 17 to 21)

Considering the internal problems that the Beatles were experiencing at the time, you would think that this strife would get worse as this docuseries goes on. In fact, this last episode is the most light-hearted of the three. One of the main reasons why it has so many laugh-out-loud moments is because of how it shows people’s various reactions to the Beatles’ surprise rooftop concert. The Beatles also seem more relaxed with each other, compared to previous days of the sessions.

During the rooftop concert, people are interviewed on the street by members of the film crew. Reactions are mostly positive. One middle-aged man says of the free concert: “It’s nice to have something for free in this country at the moment.”

Meanwhile, the complainers look like out-of-touch grouches in retrospect. One young man snarls angrily that the roof is “a bloody stupid place to have a concert.” An elderly woman is infuriated when she comments on the Beatles doing a free show on a rooftop: “I don’t see how it makes sense! It woke me up from my sleep, and I don’t like it!”

There’s also a very Keystone Kops moment when two young police officers are the first cops to respond to the noise complaints caused by the concert. One of the cops wants to take charge, but it’s obvious that he’s reluctant to arrest anyone in the Beatles. He does a lot of huffing and puffing and says this empty threat: “We’ve got 30 complaints within minutes … Turn it [the volume] down, or I’m going to have to start arresting people!” Meanwhile, the agitated cop’s partner barely says a word. You can tell that these reactions were not scripted, which makes everything even more hilarious.

Earlier in this episode, Eastman’s then-6-year-old daughter Heather (from Eastman’s first marriage) is shown being an adorable and happy kid in the studio. She brings a lot of joy to the people around her. McCartney treats her like a doting father (he bounces her up in the air and hugs her a lot), while the other Beatles (especially Lennon and Starr) are friendly and attentive to Heather. She’s talkative, curious, and is allowed to run around and play in the studio. When Heather sees Ono shrieking in a microphone, Heather starts to do that too. Lennon reponds to Heather’s vocal imitations by saying jokingly: “Yoko!”

Heather isn’t the only one acting goofy in the studio. A scene in this episode shows Starr, McCartney, Martin and Lindsay-Hogg appearing to have a serious conversation. Suddenly, Starr blurts out: “I’ve farted. I thought I’d let you know.”

Some Beatles associates featured in this episode include tape operator (and future artist/producer) Alan Parsons, sound engineer Keith Slaughter, Apple press officer Sally Burgess, producer/engineer Chris Thomas, Paul McCartney’s younger brother Mike McCartney, Apple office doorman Jimmy Clark and Apple office receptionist Debbie Wellum. When the cops show up during the Beatles’ rooftop concert, Wellum does a brilliant job of acting ignorant in stalling the cops as long as possible from going up to the roof.

But problems in the Beatles remain. While planning the rooftop concert, Paul McCartney is enthusiastic about it, while Harrison says irritably: “I don’t want to go on the roof.” Starr and Lennon chime in and both say consecutively: “I would like to go on the roof.” And with those statements, Harrison is outnumbered, and he seems to stop complaining about having to do this rooftop concert. However, Harrison still voices his dislike of the idea that the Beatles should continue to do films. It’s the opposite of how McCartney feels.

At this point in the Beatles’ history, Harrison is openly discussing taking his rejected Beatles songs and making a solo album out of it. He talks about it with Lennon and Ono, who tells Harrison that she thinks the solo album is a good idea. Meanwhile, Harrison is seen helping Starr come up with some ideas to finish Starr’s song “Octopus’s Garden,” which ended up on the “Abbey Road” album. It’s an example of how underrated Harrison was as a songwriter for the Beatles, because Starr (under his real name, Richard Starkey) is the only credited songwriter for “Octopus’s Garden.” This documentary clearly shows that Harrison co-wrote the song.

In this episode, Harrison talks about trying to finish a song that would become one of his most beloved ballads: “Something,” an “Abbey Road” hit single that was inspired by his then-wife Pattie. The first line of the song ended up being: “Something in the way she moves attracts me like no other lover.” But the documentary shows that Harrison had difficulty coming up with that first line.

Harrison considered using the phrase “attracts me like a Cadillac” or “attracts me like a pomegranate.” Lennon advises Harrison to just write what naturally comes to mind. “The Beatles: Get Back” is superb when it has this type of camaradie moment that shows a glimpse into how a classic Beatles song was written.

Lennon is in mostly a good mood during these final days of filming the documentary. He announces jubilantly that Ono’s divorce from her second husband Anthony “Tony” Cox has become final. (Lennon had already offically divorced his first wife Cynthia in November 1968.) Lennon is also seen praising Klein.

“I think he’s fantastic!” Lennon gushes to Harrison about Klein. “He knows everything about everything! He knows what we’re like. He knows me as well as you do!” The Beatles and the Rolling Stones were both signed to EMI Records at the time. Lennon also says he’s impressed that Klein was able to get an EMI royalty rate for the Rolling Stones that’s higher than the Beatles’ royalty rate, so Lennon wants Klein to do the same for the Beatles.

The Beatles have ther first meeting with Klein in this episode, but the meeting was not filmed for the documentary. In a voiceover, Johns is heard expressing cautious skepticism about Klein: “He’s a strange man, but very, very clever.” Johns also describes Klein’s habit of abruptly changing the subject in a conversation if someone says something that Klein doesn’t want to hear. “That bugs me a bit, actually,” adds Johns of Klein’s rudeness.

Harrison and Starr seem noncommittal about Klein at this point. However, people who watch this documentary should observe the expression on McCartney’s face when Klein’s name is mentioned by Lennon. Beatles fans now know that McCartney had already been planning to have Linda Eastman’s attorney father Lee Eastman take over management duties for the Beatles. McCartney is clearly concerned (and probably annoyed) that Lennon could persuade the other members of the band to want to hire Klein as the manager of the Beatles.

It’s a red flag of the management disagreements that would end up being a huge part of the Beatles’ breakup. But the docuseries ends in the best possible way, by showing the rooftop concert that would be the last time that the Beatles would ever perform together in public. (All of the Beatles’ wives/girlfriends are there except for Harrison’s.)

For the rooftop concert, the documentary shows the band performing “Get Back” (twice, but not consecutively), “Don’t Let Me Down” (twice, but not consecutively), “One After 909,” “Dig a Pony” and “I’ve Got a Feeling.” All these years later, the Beatles are still considered by many people to be the greatest rock band of all time. “The Beatles: Get Back” is a densely layered exploration into their artistic side, but it admirably never loses sight of the Beatles’ human side.

Here are the songs that are featured in “The Beatles Get Back” docuseries:

Beatles-Written Songs (for the Beatles or for Solo Material) Performed as Excerpts

In alphabetical order:

“Across the Universe”
“All Things Must Pass”
“Another Day”
“The Back Seat of My Car”
“Because I Know You Love Me So”
“Bonding”
“Carry That Weight”
“Castle of the King of the Birds”
“Commonwealth”
“Dehra Dun”
“Dig a Pony”
“Dig It”
“Don’t Let Me Down”
“Every Little Thing”
“Fancy My Chances With You”
“For You Blue”
“Get Back”
“Gimme Some Truth”
“Golden Slumbers”
“Half a Pound of Greasepaint”
“Help”
“Her Majesty”
“I Bought a Piano the Other Day”
“I Lost My Little Girl”
“I Me Mine”
“I’m So Tired”
“Isn’t It a Pity”
“I Told You Before”
“I’ve Got a Feeling”
“I Want You (She’s So Heavy)”
“Just Fun”
“Let It Be”
“The Long and Winding Road”
“Love Me Do”
“Madmen”
“Martha My Dear”
“Maxwell’s Silver Hammer”
“Mean Mr. Mustard”
“My Imagination”
“Ob-La-Di, Ob-La-Da”
“Octopus’s Garden”
“Oh! Darling”
“Old Brown Shoe”
“One After 909”
“On the Road to Marrakesh” (which later became “Jealous Guy”)
“Please Please Me”
“Polythene Pam”
“She Came in Through the Bathroom Window”
“Song of Love”
“Strawberry Fields Forever”
“Suzy Parker”
“Teddy Boy”
“Too Bad About Sorrow”
“Two of Us”
“What Do You Want to Make Those Eyes at Me For?”
“Within You, Without You”
“You Wear Your Women Out”

Cover Songs Performed as Excerpts

In alphabetical order:

“Act Naturally”
“Blue Suede Shoes”
“Bye Bye Love”
“Gilly Gilly Ossenfeffer”
“Going Up the Country”
“Hallelujah I Love Her So”
“Hi-Heel Sneakers”
“Honey Hush”
“House of the Rising Sun”
“Johnny B. Goode”
“Kansas City”
“The Midnight Special”
“The Mighty Quinn”
“Miss Ann”
“New Orleans”
“Queen of the Hop”
“Rock and Roll Music”
“Save the Last Dance for Me”
“School Days”
“Shake, Rattle and Roll”
“Stand By Me”
“Take These Chains From My Heart”
“Twenty Flight Rock”

Disney+ premieres each of the three episodes of “The Beatles: Get Back” on November 25, November 26 and November 27, 2021.

Review: ‘Licorice Pizza,’ starring Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper and Benny Safdie

November 24, 2021

by Carla Hay

“Licorice Pizza”

Directed by Paul Thomas Anderson

Culture Representation: Taking place in 1973 in California’s San Fernando Valley, the comedy/drama “Licorice Pizza” features a predominantly white cast of characters (with a few African Americans, Asians and Latinos) representing the working-class, middle-class and wealthy.

Culture Clash: A 15-year-old boy and a 25-year-old woman become unlikely business partners and friends, while she has conflicting feelings about his desire to be more than friends with her.

Culture Audience: “Licorice Pizza” will appeal primarily to people who are fans of filmmaker Paul Thomas Anderson and movies set in the 1970s with a quirky but emotion-driven storyline.

Sean Penn and Alana Haim in “Licorice Pizza” (Photo by Melinda Sue Gordon/Metro Goldwyn Mayer Pictures)

The rollicking and occasionally far-fetched dramedy “Licorice Pizza” tests the boundaries of if it’s appropriate to celebrate that a 15-year-old boy wants to seduce a 25-year-old woman. The movie doesn’t waste time with this story concept because it’s delivered in a very “only in a movie” way in the film’s opening scene, where characters who are supposed to be total strangers immediately and unrealistically exchange snappy banter that sounds exactly like what it is: well-rehearsed dialogue. This over-familiarity between strangers sets the tone for much of what happens in “Licorice Pizza,” which writer/director/producer Paul Thomas Anderson presents as a version of a heightened reality.

Any controversy about underage teen sexuality is avoided because there’s no sex in the movie, but there is a lot of adult language about sex and sexuality. “Licorice Pizza” (which is set in 1973, in California’s San Fernando Valley) is a movie were viewers will have to suspend some disbelief. That’s because a great deal of the story is about how this same “lovestruck” teenager is able to go from being a socially awkward student to being a confident and hustling business owner in the space of what seems to be a few short months.

“Licorice Pizza” is also a movie that is supposed to make some viewers uncomfortable, as well as make viewers laugh at the unpredictable comedy, feel tearkerking empathy during some of the drama depicting unpleasant realities, and get heartwarming joy from some of the romantic scenes. This is Anderson’s filmmaking style. People who watch his movies probably know it already. Anderson’s screenplays aren’t always perfect or consistently believable, but he casts his movies with talented actors who give memorable performances. Even the worst of Anderson’s movies have scenes and acting that people will remember.

“Licorice Pizza” mostly triumphs because of the cast members’ performances and when the movie is about the comedy that can be found in human flaws and quirks. “Licorice Pizza” tends to be less charming when it seems to both ridicule and embrace certain tropes in romantic movies. You can’t really have it both ways in the same film, and if you try to do that, it just makes filmmaking choices look wishy-washy or confused.

For example, there’s a recurring emphasis on the would-be “Licorice Pizza” couple—15-year-old Gary Valentine (played Cooper Hoffman) and 25-year-old Alana Kane (played by Alana Haim)—having scenes where one is running toward the other. They run either to help the other in a moment of distress; they run together while holding hands; or they run to indicate, “I’m so happy to see you that I can’t wait to hug you!”

These running scenes (some of which happen very abruptly) seem to be a spoof on clichés that are over-used in sappy romantic movies, as if this would-be couple might suddenly begin singing too. But there are moments when “Licorice Pizza” earnestly wants these running scenes to be taken seriously, in order to tug at viewers’ heartstrings. It’s this somewhat off-kilter tone that might be a turnoff to some viewers, but other viewers might think it’s compelling.

“Licorice Pizza” has some subtle and not-so-subtle commentary on the rigid gender roles that affect people’s perceptions of who should be the pursuers when it comes romance and sex. After all, reactions to “Licorice Pizza” would probably be very different if the movie had been about a 15-year-old girl who wants to date a 25-year-old man. “Licorice Pizza” certainly isn’t the first movie to be about an underage teenager who “falls in love” with an adult. But it’s impossible not to notice that a lot of what Gary gets away with would not be allowed for a female character of the same age, even if the movie were set in the present day.

It’s more of a commentary on sexism in society than Anderson’s personal filmmaking choices. However, “Licorice Pizza” still clings to the old-fashioned teen movie tropes of a nerdy teenage guy pining over a love interest and all the things he does to try to impress this love interest. It automatically sets up the teenage boy as the underdog. Movies like this almost never have an unhappy ending. The main difference between “Licorice Pizza” and most of the other teen-oriented movies that follow this over-used formula is that Anderson comes up with much better dialogue and more interesting characters portrayed by skillfull cast members. These are all the saving graces of “Licorice Pizza.”

Gary is a mix of insecurity and bravado when it comes to how he’s going to win over Alana, as well as how he becomes an aspiring business mogul. In the movie’s opening scene, it’s yearbook portrait day at Gary’s high school. Alana is an assistant at the photography studio that’s doing the student portraits on the school’s campus. The photo studio is called Tiny Toes, which implies that its specialty is doing children’s photography.

Gary is standing in a line outside the school to get his photo taken. He first sees Alana, looking bored, as she walks past the queuing students to offer a comb and mirror to anyone who needs these items. People mostly ignore Alana, except for Gary, who seems to have a “love and first sight” moment and tells Alana that he wants to use a comb and mirror.

Gary doesn’t waste time in letting Alana know that he’s interested in her. He immediately asks Alana out on a dinner date. She essentially laughs in his face and tells him, “You’re 12 … How are you going to pay?” Gary proudly tells Alana that he’s actually 15 (as if that makes a difference in his underage status) and he earns money by being an actor.

He starts listing his acting credits, which are mostly in commercials or bit parts in TV shows. However, Gary has his biggest role so far as a supporting actor in a movie musical called “Under One Roof,” in which he plays one of several orphans in an orphanage. It’s this movie role that ends up being a catalyst for how Gary and Alana’s relationship develops.

Alana bluntly tells Gary that it would be illegal for her to date him, but Gary is undeterred. He replies, “You give me hope. This is fate that brought us together!” Who talks like that to someone they just met? Alana gives a more realistic reply: “I doubt it, but we’ll see.” During this first conversation, Gary and Alana find out that she lives in Encino, while he lives in Sherman Oaks, which are about six miles apart from each other.

Alana still refuses Gary’s invitation for a dinner date. She thinks it’s somewhat amusing that this teenager is ardently pursuing her after they just met. “Don’t call it a date,” Gary says in an effort to convince Alana to meet him at his favorite local restaurant, which is called Tail o’ the Cock. (Cue the double entendre jokes.) Gary tells Alana that all he wants is for her to “just come by and say hello.”

Gary has a brother named Greg (played by Milo Herschlag), who’s about 8 or 9 years old. Gary often has the responsibility to look after himself and Greg because their single mother Anita (played by Mary Elizabeth Ellis), who’s an independent publicist, frequently has to travel away from home because of her job. (Gary’s father is not seen or mentioned in the movie.) At the time that Gary and Alana have met, Anita is temporarily in Las Vegas to do public-relations work for a hotel.

After school that day, Gary excitedly tells Greg, “I met the girl I’m going to marry one day!” Gary rushes to get ready for his “date” with Alana. There’s no guarantee that she’ll show up at the restaurant, but Gary is still hopeful. And sure enough, Alana shows up, with an expression on her face that seems to say, “I can’t believe I’m doing actually doing this.”

Gary is so elated and smitten that he intensely stares at Alana when they talk. She can also hear his heavy breathing. All of it makes her uncomfortable and she tells him to stop. “Stop breathing?” Gary asks. “Yes,” Alana says. It’s the first indication that Alana wants to be the “boss” of this relationship.

Later in the movie, there’s a great scene where Gary impulsively calls Alana but doesn’t say anything when she answers the phone. She can hear his breathing though, and quickly figures out that Gary is on the other line. He hangs up, but she calls him back, and she does the same thing that he did to her. It’s a very funny scene that says a lot about the kind of relationship that they have, which inevitably goes though ups and downs when issues of jealousy and control enter the mix.

Shortly after Gary and Alana’s “first date,” Anita calls Gary to tell him that she has to stay in Las Vegas longer than expected, so she can’t be his required guardian/chaperone on an upcoming trip to New York City for the press tour of “Under One Roof.” Gary doesn’t seem too disappointed because he knows that all he needs is someone over the age of 18 to accompany him on this trip. As soon as Gary’s mother tells him that she can’t go, you immediately know whom Gary will get to be his chaperone for this trip.

The movie cuts to Gary and Alana sitting together on the plane to New York City. At this point, Alana has been firm in telling Gary that she only wants to be his platonic friend. Gary tests her feelings when he openly flirts with an attractive flight attendant in her 20s, who seems to be impressed with Gary only because he confirms her assumption that he’s one of the actors in the movie’s cast.

Gary really isn’t interested in the flight attendant because he only wants to see Alana’s reaction to him flirting with another woman. Alana puts on a poker face, and then it’s her turn to play games with Gary. Soon after the flight attendant walks away, one of the actors in “Under One Roof” approaches Alana and makes it known that he thinks Alana is attractive and that he wants to date her.

His name is Lance Brannigan (played by Skyler Gisondo), and he’s in his late teens or early 20s. Alana enthusiastically flirts back with Lance. The look on Gary’s face indicates that he’s not happy about it, but he tries to play it cool and act like it doesn’t bother him. Expect to see more of these mind games between Gary and Alana when they see each other on dates with other people during the course of the movie.

In New York, the stars of “Under One Roof” go on a TV talk show called “The Jerry Best Show” and do an interview and a brief performance from the movie. Seated in the studio audience is Alana, who proudly tells the people sitting next to her that she’s Gary’s chaperone. The movie’s headliner is an actress named Lucy Doolittle (played by Christine Ebersole), who’s supposed to have an image that’s a combination of Lucille Ball and Shirley Jones. On camera, she’s personable with a bubbly personality.

Behind the scenes, Lucy is not the fun-loving actress that she appears to be. She’s a control freak who loses her temper easily. In a comedic scene, Gary says a sexual double entendre on the live broadcast. After the interview, Lucy gets so angry backstage that she yells at Gary and repeatedly hits him. Her lashing out is so bad that she has to be pulled off of Gary and carried away by security personnel.

This trip is a turning point in Gary and Alana’s relationship because it’s the first time that Alana sees what showbiz is like behind the scenes, and she sees that Gary gets a lot more freedom than most other teenagers who are his age. She thinks being an actor is much more glamorous than her boring life. And so, Alana starts to warm up to Gary (and Lance), and it isn’t long before Gary is helping her become an actress. He gets her a meeting with a talent agent named Mary Grady (played by Harriet Sansom Harris), who is probably Gary’s agent too.

Before the meeting, Gary advises Alana to lie and say she can do anything that is asked of her. For example, if a role requires horseriding skills, Gary says Alana should lie and say that she knows how to ride horses. He tells her that actors tell these lies all the time in auditions, and they figure out a way to quickly learn the skill if they get the role.

Gary is in the meeting with Alana and Mary, so he knows everything that’s being discussed. But once again, issues of jealousy and control come up when Alana tells Mary that she’s open to doing nude scenes. Gary reacts exactly how you think he would react. It’s quite the display of entitlement from an underage teenager toward a woman who isn’t even his girlfriend.

Alana ultimately gives a cringeworthy response to get Gary to stop whining about her willingness to do a nude scene. It is not one of the movie’s finer moments. However, it seems to be in the movie as an example of how lonely and desperate Alana is to get a certain amount of approval from Gary so that she can be in Gary’s life. Slowly but surely, viewers see that Alana is not as confident as she first appears to be.

Alana lives with her parents and her two older sisters, who are played by Alana Haim’s real-life parents and sisters. (In real life, the Haim sisters are the pop/rock trio Haim.) Alana’s father Moti (played by Moti Haim) is conservative and religious, while her mother Donna (played by Donna Haim) doesn’t say much. “Licorice Pizza” mentions several times that Alana and her family are Jewish, almost to the point where you wonder if the filmmakers intended the Kane family’s Jewishness to be some type of punchline.

Alana has a contentious relationship with oldest sister Este (played by Este Haim), who thinks that Alana is kind of a loser and isn’t afraid to say it to Alana. It’s not unusual for Alana and Este to have curse-filled arguments with each other. Alana has a much better relationship with middle sister Danielle (played by Danielle Haim), who seems to be Alana’s closest confidante. At one point, Alana asks Danielle if she thinks it’s weird that Alana is hanging out with teenagers like Gary and his friends. Danielle tries not to be judgmental and says no, but you can tell that Danielle might have just said that in order to not hurt Alana’s feelings.

Because really: It is weird for a 25-year-old to be hanging out with underage teenagers. It soon becomes clear that Alana has no friends of her own age and she’s trying to find her identity. She hasn’t quite figured out how she wants to make a living. But what she does know is that she wants to move out of her parents’ home and out of San Fernando Valley.

Alana thinks her ticket to a more glamorous life might be Lance, whom she begins dating, but Gary is never out of the picture. (One of the funniest scenes in the movie is when Alana brings Lance home for dinner to meet her family for the first time.) Eventually, Alana becomes involved in Gary’s plans to get rich by starting his own businesses. And this is where the movie takes a turn into some absurdity.

Gary is an aspiring entrepreneur. Without giving away too many details in this review, he ends up starting a business called Fat Bernie’s, where he sells water beds with the brand name Soggy Bottom. (Cue the scenes with more double entendres.) At another point in the movie, Gary opens a pinball arcade too.

Alana ends up working with Gary in his water-bed business, where they spend a lot of time doing phone sales. She also does in-person sales at the bed store. Another cringeworthy moment comes when Gary convinces her to wear a bikini and stand near the front door to attract customers. Alana seems ambivalent about how much she wants to use sex appeal for sales. Before the bikini scene happens, she gives Gary a verbal takedown when he tells her that she needs to sound sexier during her phone sales.

Yes, “Licorice Pizza” has a huge part of the story where a 15-year-old boy becomes a wheeler dealer business owner quicker than most kids complete a semester in school. There’s no logical explanation offered for it. Realistic details are never discussed in the movie, such as how he was able to rent all that retail/office space or how he got a delivery truck when he’s not even old enough to have a driver’s license. (It can be presumed he got the money to stock up on products from his actor income.) “Licorice Pizza” expects people to overlook that children under the age of 18 can’t sign contracts without a parent or guardian’s consent, unless the child is emancipated. Gary is not emancipated.

Because “Licorice Pizza” leans heavily into the subplot of Gary trying to become a business mogul, eventually his mother is never seen or mentioned in the movie again, and Gary is never seen in school again. He’s seen going to an industry trade show by himself, where he promotes his water-bed business at a booth. His only employees seem to be his brother, some local teenagers and Alana. These unrealistic aspects of the plot are undoubtedly the movie’s biggest flaws.

To make up for these gaps in reality, “Licorice Pizza” takes viewers on a topsy-turvy ride into Gary’s business antics and his continual pursuit to make Alana his girlfriend. There are some notable cameos from well-known actors who fulfill the expected eccentric roles in Anderson’s movies. Maya Rudolph (Anderson’s real-life partner) portrays a casting agent named Gale during one of Gary’s auditions for commercials. John C. Reilly has an uncredited cameo as a trade show attendee dressed in a Herman Munster costume. If Reilly isn’t the person in the actual costume, then it’s his voice that’s used for that character.

John Michael Higgins portrays Jerry Frick, the owner of a Japanese restaurant that hires Gary’s mother Anita to do publicity for the restaurant. The movie pokes fun at Jerry’s tone-deaf racism in the way that he speaks in a condescending, fake Japanese accent to his Japanese wife Mioko (played by Yumi Mizui), whom he later dumps for a younger Japanese wife named Kimiko (played by Megumi Anjo). Jerry treats Kimiko in the same way that he treated Mioko: as if he thinks he’s a culturally superior husband and she’s his inferior immigrant trophy wife.

Sean Penn portrays a famous actor named Jack Holden, who seems to be a character inspired by Steve McQueen. Alana has auditioned for a role in one of Jack’s movies. Jack uses this pickup line on Alana, by name-dropping Grace Kelly, one of his past co-stars: “You remind me of Grace,” he tells Alana with a sleazy smirk. Jack invites Alana to have dinner with him at Tail o’ the Cock, where they are joined by the movie’s kooky director Rex Blau (played by Tom Waits), who seems to be wacked out on drugs.

And what do you know: Gary happens to be in the same restaurant too. What a coincidence. Gary is there with a few of his friends, including a teenager named Wendi Jo (played by Zoe Herschlag), whom Gary has been casually dating. Gary can see that Alana is dazzled by Jack, while Alana wonders who’s the cute teenage girl who’s with Gary. Alana and Gary exchange furtive, jealous glances at each other at their respective restaurant tables.

Later, Rex leads Jack, Alana and a small crowd of restaurant customers outside to a park near the restaurant for an impromptu stunt that he wants to film with a hand-held camera. Rex encourages Jack to ride a motorcycle with Alana as his passenger on the park grass. Gary is one of the crowd observers. And something happens that leads to one of the movie’s scenes where someone runs toward another as a romantic gesture.

Bradley Cooper has the best and most hilarious scenes in the movie, as hair-stylist-turned-movie-producer Jon Peters, who becomes a customer of Gary’s water-bed business. In real life, Peters was Barbra Streisand’s live-in lover at the time, so her name is mentioned multiple times in the movie, but no one portrays Streisand in “Licorice Pizza.”

Cooper gives an unhinged, hot-tempered performance as Peters. When Gary, Alana, Greg and a teenage friend show up at the Streisand/Peters home to do a water-bed installation, Peters makes this threat to Gary: “I’m going to kill you and your family if you fuck up my house,” he says in all seriousness. It’s around the time of this house visit that rationing began for car gas, due to the Organization of Petroleum Exporting Countries (OPEC) embargo, so the gas shortage is used in the plot for some laugh-out-loud moments.

In real life, Peters is a self-admitted playboy, so that aspect of his personality is shown in the movie with his incessant boorishness when he makes unwanted sexual advances on women or when he talks about all the sex he’s had with women. (Trivia note: Peters was a producer of the 1976 version of “A Star is Born,” starring Streisand, and he was a producer of Cooper’s 2018 remake of “A Star Is Born.”) Alana becomes the target of his sexual harassment too, right in front of Gary, who looks on helplessly and does nothing to stop it.

Alana experiences other occasional forms of sexual harassment and sexism in the movie. For example, there’s a scene where she walks by a man (who’s a total stranger to her) who slaps her on her rear end as she passes him. This type of harassment is dealt with in a way that was typical for 1973: The person being harassed just shrugs it off and says nothing. These days, many people still react to harassment in the same way, but with the #MeToo movement, harassment is now less likely to be tolerated, and people are speaking up about it more.

Even though there are plenty of comedic moments in “Licorice Pizza,” the movie never lets viewers forget the serious issue of the big difference in age and maturity between Alana and Gary. There’s a very telling scene where Alana is sitting on a sidewalk after going through a harrowing experience. As she tries to collect her composure, Alana sees Gary and a few of his friends goofing off with some gas cans nearby. She says nothing out loud, but the expression on her face shows how she’s feeling inside: “What the hell am I doing here hanging out with these kids? Has my life really come to this?”

Gary is a horny teenager, so his immediate reasons for wanting to be with Alana are very transparent. He’s also very open in telling Alana that he’s sexually interested in her, but he’s not rude and aggressive about it. Gary is usually polite and respectful. Alana is the more complex character in this relationship. The movie never really explains why she has no friends of her own age. It expects viewers to just accept that Alana is a lost soul.

In “Licorice Pizza,” Hoffman and Alana Haim both make impressive feature-film debuts as actors. One of the refreshing things about the movie is that Anderson did not choose glossy-looking Hollywood actors for these two central roles. Gary looks like a real teenager (acne and all), while Alana looks like how most real women look, with teeth that aren’t perfectly straight or skin that has some blemishes. In other words, she doesn’t look like a Hollywood robot with too much plastic surgery. Too often, movies about teenage dating tend to cast actors who look too old to play teenagers, and the “dream girl” is someone who looks like a near-perfect model.

More importantly in the casting of Hoffman (who’s the son of the late Philip Seymour Hoffman) and Alana Haim is how they’re entirely believable as the characters of Gary and Alana, even if not all the scenarios written for them are believable. Do they have chemistry together? Yes, as two friends who are navigating the tightrope when one friend wants to date the other, even though they know taking the relationship beyond friendship would be illegal. There’s a fine line between making a relationship like this seem sweet or tacky, and it usually has to do with how much sexual contact the people in the relationship have with each other.

Although there are many things about Alana’s relationship with Gary that are downright inappropriate, she still puts up certain barriers so that the relationship doesn’t cross the line into statutory rape. Alana is no angel, but even she has enough ethics not to sexually take advantage of Gary. What Alana struggles with—and what Alana Haim portrays so well—is the moral ambuguity about how emotionally close she should get to an underage teenager who wants to date her. How long can she keep him in the “friend zone”?

“Licorice Pizza” takes another sudden turn when Alana decides to do something more meaningful with her life besides selling water beds. She volunteers to work on the political campaign of a city council member named Joel Wachs (played by Benny Safdie), who is running for mayor. In the last third of the movie, Alana finds out something about Joel where she gets a certain awakening and a certain reckoning that turn “Licorice Pizza” from a lightweight romp to a movie of more substance.

Don’t expect the movie to explain why it’s called “Licorice Pizza.” There is no explanation in the movie, but Anderson has said in real life that he named the movie after a former chain of California music stories called Licorice Pizza. Anderson is known for making excellent soundtrack choices for his films. Fans of retro rock and pop will love the “Licorice Pizza” soundtrack, although music aficionados will notice that one of the soundtrack songs was released after 1973: Chris Norman and Suzi Quatro’s 1978 duet “Stumblin’ In.” However, songs that existed in 1973, such as like Paul McCartney & Wings’ “Let Me Roll It” and David Bowie’s “Life on Mars?,” are used perfectly in certain scenes to immerse viewers in the mood that each scene is trying to convey.

If viewers can tolerate the most unrealistic parts of “Licorice Pizza,” then they should prepare themselves for a ride that’s a rollercoaster of emotions with some admirable acting. The unique characters in Anderson’s movies and the anticipation of seeing what will happen to these characters during each story make an irresistible combination. You might not want to hang out with a lot of these characters in real life, but it’s hard not to be entertained by them when watching them in a movie.

Metro Goldwyn Mayer Pictures and Focus Features will release “Licorice Pizza” in select U.S. cinemas on November 26, 2021. The movie’s release expands to more U.S. cinemas on December 25, 2021.